……Goodness Knows the Goodness Knows the Wicked Die AloneWicked Die Alone

FeracoFeraco

Search for Human PotentialSearch for Human Potential

7 December 20117 December 2011

If Act Four seemed like a slow build (it’s If Act Four seemed like a slow build (it’s as long as the first act, but with half the as long as the first act, but with half the scenes), Act Five is a breakneck sprint to scenes), Act Five is a breakneck sprint to the finish – seven scenes jammed into the finish – seven scenes jammed into fifteen pages of script (virtually the same fifteen pages of script (virtually the same length as the three-scene second act), length as the three-scene second act), jumping between several different jumping between several different locations and casts of characters. locations and casts of characters.

That sense that things are roaring That sense that things are roaring towards a conclusion as they’re spiraling towards a conclusion as they’re spiraling out of control is a heady one, but it’s also out of control is a heady one, but it’s also false: things may be spiraling out of false: things may be spiraling out of control for control for MacbethMacbeth, but they’re actually , but they’re actually proceeding in very orderly – one might say proceeding in very orderly – one might say prophesized – fashion. prophesized – fashion.

The Big RoarThe Big Roar

I Don’t Want to See You Like ThisI Don’t Want to See You Like This Shakespeare takes a similarly ordered approach to his Shakespeare takes a similarly ordered approach to his

material. material. Since he has to tie up his loose threads during the act Since he has to tie up his loose threads during the act

– theme-wise, character-wise, and plot-wise – we get – theme-wise, character-wise, and plot-wise – we get re-introduced to some of the material that’s been re-introduced to some of the material that’s been temporarily sidelined. temporarily sidelined.

Lady Macbeth, for example, is absent during the Lady Macbeth, for example, is absent during the entire fourth act. entire fourth act.

She’s back for her curtain call, in her most famous She’s back for her curtain call, in her most famous scene (the “sleepwalking” scene). scene (the “sleepwalking” scene).

The Macbeths’ sleep throughout the play has been The Macbeths’ sleep throughout the play has been uneasy, filled with visions of fear and guilt, and their uneasy, filled with visions of fear and guilt, and their waking lives have grown increasingly nightmarish. waking lives have grown increasingly nightmarish.

Now Lady Macbeth is locked into a nightmare, tearing Now Lady Macbeth is locked into a nightmare, tearing at her hands as she tries to wash them. at her hands as she tries to wash them.

She believed that a little water would clean her (and She believed that a little water would clean her (and her husband) of murder; clearly, one can wash the her husband) of murder; clearly, one can wash the blood from one’s hands, but one can never remove blood from one’s hands, but one can never remove the stains on one’s conscience. the stains on one’s conscience.

It strikes many readers as somewhat odd that Lady It strikes many readers as somewhat odd that Lady Macbeth, not Macbeth, would have a final attack of Macbeth, not Macbeth, would have a final attack of remorse. remorse.

She’sShe’s supposed to be the evil one – the plotter, the supposed to be the evil one – the plotter, the planner, the pusher, the puppeteer. planner, the pusher, the puppeteer.

Macbeth may be the engine of death, but she – at Macbeth may be the engine of death, but she – at least at first – provides the fuel. least at first – provides the fuel.

But it’s not actually that surprising, and it has nothing But it’s not actually that surprising, and it has nothing to do with the Lady’s femininity finally asserting itself to do with the Lady’s femininity finally asserting itself in a play that largely obsessed with the meaning of in a play that largely obsessed with the meaning of manhood. manhood.

Consider, if you will, that Lady Macbeth gained Consider, if you will, that Lady Macbeth gained nothing through Duncan’s murder; the control she nothing through Duncan’s murder; the control she believed she’d have was ripped away as soon as her believed she’d have was ripped away as soon as her husband proved too unstable to rule. husband proved too unstable to rule.

And if you also consider that Macbeth has never been And if you also consider that Macbeth has never been the same following Duncan’s death, she’s lost the same following Duncan’s death, she’s lost herher only tie to humanity as well. only tie to humanity as well.

Macbeth is really all she has, and now she’s bound to Macbeth is really all she has, and now she’s bound to a crazed shadow of a man she loved. a crazed shadow of a man she loved.

The Magnifying GlassThe Magnifying Glass

Moreover, if children give meaning to men’s lives Moreover, if children give meaning to men’s lives – this being the source of Macbeth’s obsession – this being the source of Macbeth’s obsession with his “barren scepter” – what would they do with his “barren scepter” – what would they do for women? for women?

If Macbeth fails to be a man by not having a If Macbeth fails to be a man by not having a baby, does Lady Macbeth fail, on some level, to baby, does Lady Macbeth fail, on some level, to be a woman by not birthing and rearing a child? be a woman by not birthing and rearing a child?

Macbeth already tells her that she’s only fit to Macbeth already tells her that she’s only fit to have sons, for her spirit’s far too bold and vicious have sons, for her spirit’s far too bold and vicious to pass down to daughters. to pass down to daughters.

He means it as a compliment, but in a work He means it as a compliment, but in a work where all lines and distinctions blur – “Fair is where all lines and distinctions blur – “Fair is foul” – doesn’t that just underscore how trapped foul” – doesn’t that just underscore how trapped she is? she is?

If she’s not allowed to act as men do, and she’s If she’s not allowed to act as men do, and she’s clearly not comfortable in the woman’s role, clearly not comfortable in the woman’s role, where can she find peace? where can she find peace?

The Infinite SadnessThe Infinite Sadness

We’ve alluded to “Macbeth’s missing child” before, We’ve alluded to “Macbeth’s missing child” before, and I told you I’d talk about it here. and I told you I’d talk about it here.

There are several schools of thought regarding the There are several schools of thought regarding the possibility that Macbeth does – or did – have one. possibility that Macbeth does – or did – have one.

Evidence includes little offhanded lines, such as Evidence includes little offhanded lines, such as Lady Macbeth’s declaration (to an unsurprised Lady Macbeth’s declaration (to an unsurprised husband) that she’s nursed an infant before. husband) that she’s nursed an infant before.

Since we can’t assume she’s lying (the tone of the Since we can’t assume she’s lying (the tone of the conversation presumes that her husband wouldn’t conversation presumes that her husband wouldn’t be surprised by the disclosure), several be surprised by the disclosure), several possibilities remain. possibilities remain.

She could have served as a nurse for another She could have served as a nurse for another woman’s child; the practice wasn’t all that woman’s child; the practice wasn’t all that uncommon, and it pops up in other Shakespeare uncommon, and it pops up in other Shakespeare plays (Juliet, for example, nursed from the Nurse). plays (Juliet, for example, nursed from the Nurse).

But that typically signifies that she’d had a child of But that typically signifies that she’d had a child of her own. her own.

All the Small ThingsAll the Small Things

She and Macbeth could currently have a child, She and Macbeth could currently have a child, just one that never appears onstage. just one that never appears onstage.

Supporters of this theory assert that his Supporters of this theory assert that his presence accounts for Macbeth’s weirdly presence accounts for Macbeth’s weirdly dispassionate pursuit of power (he’s doing it dispassionate pursuit of power (he’s doing it for his son and wife, not for himself), as well as for his son and wife, not for himself), as well as his complete and utter panic over the idea of his complete and utter panic over the idea of Fleance becoming king (couldn’t that just Fleance becoming king (couldn’t that just happen as a result of Macbeth dying of old age, happen as a result of Macbeth dying of old age, since Fleance is, after all, much younger than since Fleance is, after all, much younger than him?). him?).

But to be honest, I don’t buy this one; I have a But to be honest, I don’t buy this one; I have a very hard time reconciling the “fruitless very hard time reconciling the “fruitless crown/barren scepter” speech with a child crown/barren scepter” speech with a child who’s even more thoroughly hidden than who’s even more thoroughly hidden than Fleance. Fleance.

MacbethMacbeth

That leaves two other possibilities. That leaves two other possibilities. One is that Lady Macbeth has married before, had a One is that Lady Macbeth has married before, had a

child with her husband, was left a widow, and married child with her husband, was left a widow, and married Macbeth. Macbeth.

Somewhere either during or after that sequence, her Somewhere either during or after that sequence, her child was killed somehow. child was killed somehow.

History shows that the real Macbeth’s wife did, in History shows that the real Macbeth’s wife did, in fact, have a child from a previous marriage. fact, have a child from a previous marriage.

But considering how thoroughly and intentionally But considering how thoroughly and intentionally Shakespeare changed the Lady Macbeth character Shakespeare changed the Lady Macbeth character from her historical antecedent, and considering that from her historical antecedent, and considering that there aren’t any other allusions to a prior marriage there aren’t any other allusions to a prior marriage anywhere in the play, this, too, seems to be an empty anywhere in the play, this, too, seems to be an empty explanation. explanation.

Shakespeare’s precisely handled virtually every other Shakespeare’s precisely handled virtually every other aspect of the script; it would be odd for that moment aspect of the script; it would be odd for that moment to sit there in isolation, like a lost fragment of a to sit there in isolation, like a lost fragment of a deleted scene that accidentally found its way into a deleted scene that accidentally found its way into a film’s final cut. film’s final cut.

The Kids Aren’t All RightThe Kids Aren’t All Right

The other possibility – and the most painful one – is that, The other possibility – and the most painful one – is that, indeed, Macbeth and Lady Macbeth did have a child…but indeed, Macbeth and Lady Macbeth did have a child…but that he (we will assume it’s a son, thanks to Macbeth’s that he (we will assume it’s a son, thanks to Macbeth’s obsession with them as well as his “men-children only” obsession with them as well as his “men-children only” line) died at an early age due to unspecified causes – a line) died at an early age due to unspecified causes – a family line killed off in one fell swoop. family line killed off in one fell swoop.

This not only explains Lady Macbeth’s “nursing” line, but This not only explains Lady Macbeth’s “nursing” line, but amplifies its power in that scene; by alluding to their dead amplifies its power in that scene; by alluding to their dead child, Lady Macbeth strikes the rawest nerve for both of child, Lady Macbeth strikes the rawest nerve for both of them that she can. them that she can.

When she says she would kill her child had she promised to When she says she would kill her child had she promised to do so, there’s nothing Macbeth can say in response to that: do so, there’s nothing Macbeth can say in response to that: it’s an unimpeachable affirmation of her resolve to keep it’s an unimpeachable affirmation of her resolve to keep her word. her word.

And you’ll notice when re-reading that scene that, indeed, And you’ll notice when re-reading that scene that, indeed, Macbeth says Macbeth says nothing. nothing. He pauses, then changes the He pauses, then changes the subject – subject – If we should fail– If we should fail–

And Lady Macbeth cuts him off: And Lady Macbeth cuts him off: We fail? We fail? She lets that line hang in the air for a moment, as if to say: She lets that line hang in the air for a moment, as if to say:

Don’t you and I already understand Don’t you and I already understand failurefailure? ?

FailureFailure

That sequence has been read in many, many That sequence has been read in many, many different ways, depending on whether the director different ways, depending on whether the director and actress agree with this interpretation. and actress agree with this interpretation.

If it holds, the explanation doesn’t excuse what If it holds, the explanation doesn’t excuse what Lady Macbeth and especially Macbeth do over the Lady Macbeth and especially Macbeth do over the course of the play: their crimes are terrible. course of the play: their crimes are terrible.

Yet I think back to my older sister, working with Yet I think back to my older sister, working with dying children, and think also of their terrified, dying children, and think also of their terrified, powerless parents. powerless parents.

If you’re to outlive your child, one thinks, the If you’re to outlive your child, one thinks, the universe must flip upside down, the natural order universe must flip upside down, the natural order of things reverses and falls apart…fair becomes of things reverses and falls apart…fair becomes foul. foul.

And I think of Macbeth, who seems unnaturally And I think of Macbeth, who seems unnaturally hungry for certainty, craving knowledge of hungry for certainty, craving knowledge of how how things things shouldshould happen, happen, and I wonder if, in those and I wonder if, in those parents’ shoes, all I would want is for things to parents’ shoes, all I would want is for things to make sense too. make sense too.

Nothing is Ever What It SeemsNothing is Ever What It Seems

What I’m trying to say, and what I know I’ve said What I’m trying to say, and what I know I’ve said before, is that the Macbeths’ hungers and desires are before, is that the Macbeths’ hungers and desires are probably more complicated than they initially appear probably more complicated than they initially appear – that they, themselves, are complex figures, not – that they, themselves, are complex figures, not cartoonish villains. cartoonish villains.

And when one remembers how Lady Macbeth thought And when one remembers how Lady Macbeth thought Duncan looked exactly like her father, and how that Duncan looked exactly like her father, and how that sight alone stayed her hand – that sight alone stayed her hand – that she didn’t kill him she didn’t kill him because he looked like someone she loved because he looked like someone she loved – one re-– one re-reads the second scene of Act II differently as well. reads the second scene of Act II differently as well.

For here no longer stands the craven, plotting witch For here no longer stands the craven, plotting witch in woman’s form, seizing the daggers from her weak-in woman’s form, seizing the daggers from her weak-willed husband, marching down to viciously stab the willed husband, marching down to viciously stab the dead king before spreading his blood over his guards’ dead king before spreading his blood over his guards’ drugged faces. drugged faces.

Here instead stands a woman who, seeing that her Here instead stands a woman who, seeing that her husband has botched a terrible but necessary task, husband has botched a terrible but necessary task, must protect herself and her loved one – the only one must protect herself and her loved one – the only one she has left – from getting caught. she has left – from getting caught.

The Witch Riding Your BackThe Witch Riding Your Back

The stereotype of maternal ferocity holds that a The stereotype of maternal ferocity holds that a mother will grimly do what’s necessary to protect mother will grimly do what’s necessary to protect her young loved ones, no matter how unpleasant. her young loved ones, no matter how unpleasant.

Lady Macduff says as much when she talks about Lady Macduff says as much when she talks about the wren defending her doomed nest, and we’ve the wren defending her doomed nest, and we’ve talked at length about the woman from talked at length about the woman from 1984 1984 bracing her arm against the hailstorm of bullets. bracing her arm against the hailstorm of bullets.

In that sense, then, there’s a sort of grim In that sense, then, there’s a sort of grim maternity on display here from Lady Macbeth: maternity on display here from Lady Macbeth: If If my husband puts himself at risk by acting like a my husband puts himself at risk by acting like a frightened child, I will protect him – us – no frightened child, I will protect him – us – no matter what.matter what.

So she goes back downstairs, confronts what So she goes back downstairs, confronts what must look like the corpse of her father (torn to must look like the corpse of her father (torn to ribbons), and does what she has to do. ribbons), and does what she has to do.

They are, as Macbeth later says, so deep in blood They are, as Macbeth later says, so deep in blood that it feels impossible to turn back. that it feels impossible to turn back.

Terrible LoveTerrible Love

When she comes up, she tells Macbeth that she’s When she comes up, she tells Macbeth that she’s grateful she’s not a coward like him – that her grateful she’s not a coward like him – that her hands are red, but her heart’s not white. hands are red, but her heart’s not white.

But white’s the color of virtue as well as cowardice, But white’s the color of virtue as well as cowardice, and Lady Macbeth will never be pure, even though and Lady Macbeth will never be pure, even though she’s the one who lives up to her word (and she’s the one who lives up to her word (and Macbeth the one who keeps messing up or altering Macbeth the one who keeps messing up or altering plans). plans).

Remember, she doesn’t Remember, she doesn’t kill kill anyone; this is probably anyone; this is probably the first time she’s ever inflicted physical harm on the first time she’s ever inflicted physical harm on a human being, even though it’s a corpse (and a human being, even though it’s a corpse (and dismissing her stated willingness to hurt her baby dismissing her stated willingness to hurt her baby for the moment.) for the moment.)

Her bravado, which stands in marked contrast to Her bravado, which stands in marked contrast to Macbeth’s tortured regret, reveals itself as simply Macbeth’s tortured regret, reveals itself as simply that – bravado masking anger and bitterness over that – bravado masking anger and bitterness over her husband’s actions forcing her to do what she’s her husband’s actions forcing her to do what she’s done, empty posturing hiding a deeper hurt. done, empty posturing hiding a deeper hurt.

The Everchanging Spectrum of a LieThe Everchanging Spectrum of a Lie

And it’s that hurt that comes to the And it’s that hurt that comes to the forefront now, as water cannot wash away forefront now, as water cannot wash away her crimes, cannot wash away the her crimes, cannot wash away the psychological trauma Lady Macbeth’s psychological trauma Lady Macbeth’s inflicted upon herself. inflicted upon herself.

Even here, she does not cut a sympathetic Even here, she does not cut a sympathetic figure. But she does cut a tragic one. figure. But she does cut a tragic one.

Who could have guessed, back when we Who could have guessed, back when we met her in the first act’s fifth scene, that met her in the first act’s fifth scene, that the amoral Lady Macbeth’s fatal weakness the amoral Lady Macbeth’s fatal weakness would be her conscience? would be her conscience?

I’d Kill to Fall AsleepI’d Kill to Fall Asleep

The Doctor and gentlewoman listen to her talk in her The Doctor and gentlewoman listen to her talk in her sleep – sleep – What’s done cannot be undoneWhat’s done cannot be undone – and decide – and decide that there’s nothing that can be done for her. that there’s nothing that can be done for her.

The doctor says she needs the divine’s help more The doctor says she needs the divine’s help more than a physician. than a physician.

They’re right. They’re right. This is the last time we’ll see Lady Macbeth alive; she This is the last time we’ll see Lady Macbeth alive; she

kills herself. kills herself. And you’ll notice that Shakespeare has spent the And you’ll notice that Shakespeare has spent the

entire play slowly removing Macbeth from everything entire play slowly removing Macbeth from everything – not just from people, but from what once made up – not just from people, but from what once made up his life. his life.

When his wife dies, she does so offstage, and he When his wife dies, she does so offstage, and he merely acknowledges the loss when it’s reported. merely acknowledges the loss when it’s reported.

The shift in priorities – from her needs to his own, The shift in priorities – from her needs to his own, from providing for another to single-minded from providing for another to single-minded destruction – is complete. Macbeth is irredeemable. destruction – is complete. Macbeth is irredeemable.

Up All Night/Heart’s All GoneUp All Night/Heart’s All Gone

Most of the next few scenes whip by in a quick Most of the next few scenes whip by in a quick blur of details; very little of what we read here blur of details; very little of what we read here has significance beyond its present meaning. has significance beyond its present meaning.

We learn that: We learn that: Macbeth has fortified his castle at Dunsinane in Macbeth has fortified his castle at Dunsinane in

anticipation of Malcolm’s, Macduff’s, and Siward’s (an anticipation of Malcolm’s, Macduff’s, and Siward’s (an English lord and Malcolm’s uncle) attackEnglish lord and Malcolm’s uncle) attack

Most of his men now openly acknowledge his corruption, Most of his men now openly acknowledge his corruption, and that many have deserted himand that many have deserted him

Donalbain is nowhere to be foundDonalbain is nowhere to be found Macbeth plans to make his last stand here, no matter Macbeth plans to make his last stand here, no matter

the costthe cost Malcolm, as he approaches Birnam Wood, gives orders Malcolm, as he approaches Birnam Wood, gives orders

to every soldier to strip the trees of branches and carry to every soldier to strip the trees of branches and carry them in order to make enemy scouts inflate their them in order to make enemy scouts inflate their numbers. numbers.

This, of course, gives the impression of trees marching This, of course, gives the impression of trees marching from Birnam Wood on Dunsinane…exactly as the from Birnam Wood on Dunsinane…exactly as the prophecy warned. prophecy warned.

WhirringWhirring

Lump SumLump Sum When Lady Macbeth shuffles off this When Lady Macbeth shuffles off this

mortal coil, Macbeth launches into a mortal coil, Macbeth launches into a rare monologue (not a soliloquy). rare monologue (not a soliloquy).

In the “sound and fury” speech, he In the “sound and fury” speech, he states that life’s end no longer states that life’s end no longer saddens him, because every day we saddens him, because every day we live merely serves as a way to march live merely serves as a way to march closer to death. closer to death.

Our lives are just “a tale told by an Our lives are just “a tale told by an idiot, full of sound and fury, idiot, full of sound and fury, signifying nothing.” signifying nothing.”

No Secret WhyNo Secret Why One cannot assume Shakespeare believes One cannot assume Shakespeare believes

this; there’s plenty of evidence in his this; there’s plenty of evidence in his other plays to suggest that, indeed, he other plays to suggest that, indeed, he found human existence to be profoundly found human existence to be profoundly fascinating. fascinating.

But from Macbeth’s perspective, this But from Macbeth’s perspective, this speech makes perfect sense. speech makes perfect sense.

As the play draws close to its conclusion, As the play draws close to its conclusion, he can look back at what happened over he can look back at what happened over the course of it and marvel at how the course of it and marvel at how arbitrary the things that felt so serious arbitrary the things that felt so serious seem now. seem now.

A Heavy AbacusA Heavy Abacus What was it all for? What was it all for? Power? He’s lost (or losing) it. Power? He’s lost (or losing) it. His wife? She’s dead now. His wife? She’s dead now. Fate? Fate’s abandoned him. Fate? Fate’s abandoned him. Fear? He really killed a king he liked and friend he Fear? He really killed a king he liked and friend he

loved because he was afraid? loved because he was afraid? What could possibly frighten him more than the What could possibly frighten him more than the

thought of doing what he’s done – of, as Kierkegaard thought of doing what he’s done – of, as Kierkegaard put it, losing himself? put it, losing himself?

No, he’s not doing what he’s doing for any reason No, he’s not doing what he’s doing for any reason now. now.

He thinks he’s hatching plans, making independent He thinks he’s hatching plans, making independent choices, and generally executing a strategy. choices, and generally executing a strategy.

But it’s a delusion. But it’s a delusion. Like a wind-up toy wound up too far and left alone in Like a wind-up toy wound up too far and left alone in

an empty room, Macbeth is simply going through the an empty room, Macbeth is simply going through the motions now, defending a castle he can’t truly want motions now, defending a castle he can’t truly want to occupy against enemies who only hate him because to occupy against enemies who only hate him because he made them hate him. he made them hate him.

The Joy FormidableThe Joy Formidable So “Birnam Wood” draws near, and Macbeth, So “Birnam Wood” draws near, and Macbeth,

declaring that “there is no flying hence or harrying declaring that “there is no flying hence or harrying here,” leaves to join the battlefield himself. here,” leaves to join the battlefield himself.

Siward and his son (the imaginatively named Young Siward and his son (the imaginatively named Young Siward) lead the first charge against him. Siward) lead the first charge against him.

It’s not successful. It’s not successful. In fact, Young Siward makes it far enough to face In fact, Young Siward makes it far enough to face

Macbeth directly, but the mad king simply guts him Macbeth directly, but the mad king simply guts him and moves on, laughing that someone of woman born and moves on, laughing that someone of woman born would be stupid enough to stand and face him rather would be stupid enough to stand and face him rather than flee. than flee.

Just another family line destroyed, another father or Just another family line destroyed, another father or son eliminated. son eliminated.

For those of you keeping score, that’s four “pairs” For those of you keeping score, that’s four “pairs” (Duncan/Malcolm, Macduff/Son, Banquo/Fleance, and (Duncan/Malcolm, Macduff/Son, Banquo/Fleance, and Siward/Young Siward) of fathers and sons in the play, Siward/Young Siward) of fathers and sons in the play, and Macbeth kills a member of each one (two fathers, and Macbeth kills a member of each one (two fathers, two sons)two sons) ……quite the body count, no?quite the body count, no?

Words Destroyed My PlanetWords Destroyed My Planet But no sooner does he kill yet another son But no sooner does he kill yet another son

than Macduff arrives, challenging Macbeth than Macduff arrives, challenging Macbeth to turn and face him. to turn and face him.

Macbeth tells him to leave, that he’s been Macbeth tells him to leave, that he’s been avoiding him – “my soul is too much avoiding him – “my soul is too much charged with blood of thine already.” charged with blood of thine already.”

Macduff isn’t going anywhere, and he says Macduff isn’t going anywhere, and he says that, since Macbeth’s crimes are too that, since Macbeth’s crimes are too terrible to describe with words (terrible to describe with words (a deed a deed without a namewithout a name), his sword will speak for ), his sword will speak for him. him. Act I’s Lady Macbeth would be so proud of him.Act I’s Lady Macbeth would be so proud of him.

I Have Been Right All AlongI Have Been Right All Along As they fight, Macbeth gloats; he knows As they fight, Macbeth gloats; he knows

(“knows”) he can’t lose, for Macduff is of (“knows”) he can’t lose, for Macduff is of woman born. woman born.

But, as it so happens, Macduff isn’t – not But, as it so happens, Macduff isn’t – not literally. literally.

He never passed through the birth canal. He never passed through the birth canal. Shakespeare writes that “Macduff was from his Shakespeare writes that “Macduff was from his

mother’s womb untimely ripped.” mother’s womb untimely ripped.” This means to describe a less-modern version This means to describe a less-modern version

of the Cesarean section – Macduff wasn’t of the Cesarean section – Macduff wasn’t coming out, so they cut open his mother and coming out, so they cut open his mother and ripped him out. ripped him out. No word on whether she survived the procedure.No word on whether she survived the procedure.

The apparitions were right all along. The apparitions were right all along.

I’m Broke and So is Everything I OwnI’m Broke and So is Everything I Own

Macbeth – stunned, shaken, and furious – Macbeth – stunned, shaken, and furious – now knows that he’s doomed. now knows that he’s doomed.

But he refuses to surrender when Macduff But he refuses to surrender when Macduff tauntingly dares him to do so: even here, tauntingly dares him to do so: even here, he’s futilely trying to resist Fate’s he’s futilely trying to resist Fate’s dictates, cursing those who “keep the dictates, cursing those who “keep the word of promise to our ear, and break it to word of promise to our ear, and break it to our hope.” our hope.”

The wind-up toy spins on. The wind-up toy spins on. The battle moves offstage. The battle moves offstage.

Frame and CanvasFrame and Canvas Siward and Malcolm appear in their wake, Siward and Malcolm appear in their wake,

discussing the grim nature of warfare (the people discussing the grim nature of warfare (the people they care about most will fight for them, but that they care about most will fight for them, but that makes those cherished ones more likely to die). makes those cherished ones more likely to die).

Ross, who seems to have become the designated Ross, who seems to have become the designated bearer of bad news by this point, tells Siward bearer of bad news by this point, tells Siward that his son died in the battle, but that they’ve that his son died in the battle, but that they’ve collected his body. collected his body.

Siward asks, “Had he his hurts before?” – Siward asks, “Had he his hurts before?” – meaning, was he facing his killer, or were the meaning, was he facing his killer, or were the wounds on his back? wounds on his back?

Ross confirms his wounds are “on the front,” and Ross confirms his wounds are “on the front,” and Siward…well, he doesn’t sigh with relief as much Siward…well, he doesn’t sigh with relief as much as he solemnly, grimly nods, saying that his son as he solemnly, grimly nods, saying that his son therefore earned as noble a death as a fighter therefore earned as noble a death as a fighter could merit. could merit.

I’m Not Crying. You’re Not Crying, Are You?I’m Not Crying. You’re Not Crying, Are You?

It’s the opposite of Macbeth’s almost nihilistic It’s the opposite of Macbeth’s almost nihilistic reaction to Lady Macbeth’s death. reaction to Lady Macbeth’s death.

Unlike the king, Siward sees great value in dying – Unlike the king, Siward sees great value in dying – and in living – “the right way.” and in living – “the right way.”

Yes, his son died much too young. But at least he died Yes, his son died much too young. But at least he died fighting; at least he died with his eyes open, battling fighting; at least he died with his eyes open, battling to uphold a righteous cause. to uphold a righteous cause.

As Siward speaks, one can’t help but see how closely As Siward speaks, one can’t help but see how closely his sentiment mirrors the Fat Man’s from his sentiment mirrors the Fat Man’s from War.War.

Our children fight because they must; if they die Our children fight because they must; if they die fighting for something good, long before age and fighting for something good, long before age and experience take their inevitable toll, what better fate experience take their inevitable toll, what better fate could we arrange for them? could we arrange for them?

But where Pirandello’s character doesn’t truly believe But where Pirandello’s character doesn’t truly believe what he’s saying – his words are his last, desperate what he’s saying – his words are his last, desperate coping mechanism – Siward does. coping mechanism – Siward does.

Drawing a Line in the SandDrawing a Line in the Sand This scene is worth noting not just because it This scene is worth noting not just because it

reflects how different values have shifted reflects how different values have shifted across different eras. across different eras.

The play’s chiefly obsessed with, in no The play’s chiefly obsessed with, in no particular order, the relationships between particular order, the relationships between fathers and sons; the degree of control a man fathers and sons; the degree of control a man has over his own fate; the “right” way to live has over his own fate; the “right” way to live one’s life, particularly in the face of one’s life, particularly in the face of contradicting responsibilities; and how one contradicting responsibilities; and how one responds to adversity, loss, and pain. responds to adversity, loss, and pain.

In a play such as this one, this tiny section of In a play such as this one, this tiny section of dialogue may as well be a line drawn in the dialogue may as well be a line drawn in the sand: here, the meaning of your life isn’t sand: here, the meaning of your life isn’t determined by how safe you felt, how many determined by how safe you felt, how many threats you neutralized, or even how long you threats you neutralized, or even how long you led it, but by whether, on the day Death came led it, but by whether, on the day Death came for you, you were brave enough to face it. for you, you were brave enough to face it.

Stand and Feel Your WorthStand and Feel Your Worth And that’s what’s so sneaky about the And that’s what’s so sneaky about the

way Shakespeare sends Macbeth off. way Shakespeare sends Macbeth off. What looks like futile, doomed What looks like futile, doomed

desperation at first blush is Macbeth’s last desperation at first blush is Macbeth’s last stab at some semblance of noble human stab at some semblance of noble human dignity and courage.dignity and courage.

After spending the vast majority of the After spending the vast majority of the play alternately paralyzed and play alternately paralyzed and compromised by his fears, Macbeth stands compromised by his fears, Macbeth stands his ground: his ground: I know you’re going to kill me, I know you’re going to kill me, but I’m not going easily.but I’m not going easily.

The Hollywood Ending, Part IIThe Hollywood Ending, Part II But he does go, in the end. Macduff walks back But he does go, in the end. Macduff walks back

onto the stage, carrying a pike with Macbeth’s onto the stage, carrying a pike with Macbeth’s head jammed on its spike – the mirror image of the head jammed on its spike – the mirror image of the defeated “rebel leader,” Macdonwald, from the defeated “rebel leader,” Macdonwald, from the play’s second scene. play’s second scene. No telling whether Macduff unseam’d Macbeth from No telling whether Macduff unseam’d Macbeth from

nave to chops first. nave to chops first. And here, it seems, we’re going to get our And here, it seems, we’re going to get our

(previously sarcastically-outlined) Hollywood (previously sarcastically-outlined) Hollywood ending after all. ending after all.

The witch is dead – or at least the one who listened The witch is dead – or at least the one who listened to the witches is. to the witches is.

Malcolm’s elevated to the throne, and the play Malcolm’s elevated to the throne, and the play ends with him discussing the need to get down to ends with him discussing the need to get down to business – reaching out to those who fled the business – reaching out to those who fled the country, promoting those who just fought by his country, promoting those who just fought by his side to new roles (Scotland’s first earls!), and so side to new roles (Scotland’s first earls!), and so forth. forth.

It looks, at first, like a tidy little conclusion. It looks, at first, like a tidy little conclusion. It isn’t. It isn’t.

An Absurd & Unrealistic Dream of PeaceAn Absurd & Unrealistic Dream of Peace

There’s a key distinction between There’s a key distinction between MacbethMacbeth and and Shakespeare’s other works. Shakespeare’s other works.

Most tragedies give their audiences some relief at Most tragedies give their audiences some relief at the end of the action; we call this cooling-off the end of the action; we call this cooling-off catharsis. catharsis.

MacbethMacbeth is decidedly, emphatically non-cathartic. is decidedly, emphatically non-cathartic. Macbeth may be dead, but the play’s survivors are Macbeth may be dead, but the play’s survivors are

broken, beaten, and scarred. broken, beaten, and scarred. Scotland has suffered catastrophic damage, and Scotland has suffered catastrophic damage, and

the leadership vacuum that formed following the leadership vacuum that formed following Macbeth’s crimes hasn’t been completely filled. Macbeth’s crimes hasn’t been completely filled.

For reasons Susan Snyder and I both mentioned, For reasons Susan Snyder and I both mentioned, we don’t particularly like or trust Malcolm, who we don’t particularly like or trust Malcolm, who assumes the throne at the end of the play. assumes the throne at the end of the play.

And there’re a hugely problematic loose thread still And there’re a hugely problematic loose thread still dangling, even after Macbeth’s death, that dangling, even after Macbeth’s death, that threatens to unravel everything. threatens to unravel everything.

Universe or WorseUniverse or Worse I’ve talked at length about how detail-I’ve talked at length about how detail-

oriented Shakespeare’s scripts are, and oriented Shakespeare’s scripts are, and how surprising that quality really is – how surprising that quality really is – since, after all, these weren’t meant to be since, after all, these weren’t meant to be widely read the way they are today. widely read the way they are today.

Nothing seems to escape his field of Nothing seems to escape his field of vision. vision.

So when he leaves a giant, gaping So when he leaves a giant, gaping uncertainty in place – one which uncertainty in place – one which inconveniently hearkens back to a specific inconveniently hearkens back to a specific earlier moment in Act Four – it should earlier moment in Act Four – it should grab your attention. grab your attention.

Did you spot what Shakespeare didn’t Did you spot what Shakespeare didn’t address with his conclusion? address with his conclusion?

Where’s Fleance?Where’s Fleance?

Days Go ByDays Go By Malcolm’s king now, sure. Malcolm’s king now, sure. And Donalbain’s out there in Ireland And Donalbain’s out there in Ireland

somewhere; we can assume that he’s one somewhere; we can assume that he’s one of the people Malcolm’s alluding to when of the people Malcolm’s alluding to when he mentions the need to reach out to the he mentions the need to reach out to the members of the Scottish diaspora. members of the Scottish diaspora.

That makes for two members of the royal That makes for two members of the royal family still alive and kicking, still very family still alive and kicking, still very young and fertile. young and fertile.

What in the world happens to the royal What in the world happens to the royal line? line?

For the only way – the For the only way – the onlyonly way – for way – for Fleance to become king is for the royal Fleance to become king is for the royal family to do what Macbeth tried to make it family to do what Macbeth tried to make it do: disappear. do: disappear.

Broken LungsBroken Lungs In order for the prophecy to come true – and we In order for the prophecy to come true – and we

know the prophecies are going to come true, know the prophecies are going to come true, since James is sitting in the audience fuming since James is sitting in the audience fuming about the witch chants – Malcolm has to die, about the witch chants – Malcolm has to die, probably childless (for if he has children, they probably childless (for if he has children, they need to die to). need to die to).

Donalbain also needs to die, with the same Donalbain also needs to die, with the same conditions in place regarding his potential conditions in place regarding his potential children. children.

And since they’re roughly the same age as And since they’re roughly the same age as Fleance, they’ll need to die young if he’s going to Fleance, they’ll need to die young if he’s going to have enough time to learn how to rule, then have enough time to learn how to rule, then teach his sons how to rule, all without foreign teach his sons how to rule, all without foreign invaders sensing the country’s weakness during invaders sensing the country’s weakness during an extended period of turmoil. an extended period of turmoil.

The Greatest Light is the Greatest ShadeThe Greatest Light is the Greatest Shade

The play ends by pretending that the problems at The play ends by pretending that the problems at its core (the wrongful destruction of the royal its core (the wrongful destruction of the royal family) have been solved with Macbeth’s death family) have been solved with Macbeth’s death and the removal of the tyrant from the throne. and the removal of the tyrant from the throne.

In actuality, Macbeth was simply a catalyst: his In actuality, Macbeth was simply a catalyst: his actions don’t annihilate the royal family, but they actions don’t annihilate the royal family, but they do set the conditions for their annihilation. do set the conditions for their annihilation.

By getting rid of Duncan, he starts the cascade By getting rid of Duncan, he starts the cascade that must – that must – must must – ultimately claim Malcolm’s – ultimately claim Malcolm’s and Donalbain’s lives as well. and Donalbain’s lives as well.

Scotland, in short, seems (at least to people who Scotland, in short, seems (at least to people who aren’t paying close attention at the play winds aren’t paying close attention at the play winds down) to be on the cusp of a very good, very down) to be on the cusp of a very good, very fairfair day. day.

Nothing, it seems, ever comes that easily. Nothing, it seems, ever comes that easily.