william shakespeare's macbeth analysis

8/9/2019 William Shakespeare's Macbeth Analysis

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Modern Critical Interpretations

William Shakespeare's

Macbeth

Edited and with an introduction by

Harold Bloom

Sterling Professor of the Humanities Yale University

1987

ISBN !877"#9$!$

Contents

%ditor's Note & ii

Introd(ction & 1 Harold Bloom

Macbeth & "

Harold C) *oddard

Macbeth: + ,(st -or .o/er & $90 ,) C) ni2hts

3he 4oice in the S/ord & "9 Ma5nard Mack0 6r)

+ .ainted eilMacbeth / 91 Ho/ard elperin

3/o Scenes -romMacbeth & 11$Harr5 ,ein

3hri-tless +mbition0 oolish Wishes0and the 3ra2ed5 o-Macbeth / 1$$ :obert N) Watson

Chronolo25 & 1;9

Contrib(tors & 171


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Biblio2raph5 & 17$

Editor's Note

3his book 2athers to2ether /hat I illain)

3his ol(me concl(des /ith :obert N) Watson's -(ll>scale *nostic e=e2esis o-Macbeth! /hich

contrasts /ith m5 o/n Aedipal acco(nt o- the hero>illain's nihilistic nat(re in m5 introd(ction)

Introduction

I

Critics remark endlessl5 abo(t t/o aspects o-Macbeth! its obsession /ith time0 and itsinariable reco(rse to metaphors o- the sta2e0 almost on the scale of Hamlet. Macbeth! m5

personal -aorite amon2 Shakespeare's dramas0 al/a5s has seemed to me to be set in a *nostic

cosmos0 tho(2h certainl5 Shakespeare's o/n ision is b5 no means *nostic in spirit) *nosticism

al/a5s mani-ests a 2reat horror o- time0 since time /ill sho/ that one is nothin2 in onesel-0 andthat one's ambition to be eer5thin2 in onesel- is onl5 an imitation o- the emi(r2e0 the maker o-

this r(ined /orld)

Wh5 does Shakespeare 2ie (s the theatrical trope thro(2ho(tMacbeth! in a (nierse that is the

"enoma! the cosmolo2ical emptiness o- the *nostic seers InHamlet! the trope is appropriate0

since Cla(di(s 2oerns a pla5>act kin2dom) Clearl50 /e con-ront a more desperate theatricalit5

inMacbeth! /here the cosmos0 and not


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What al/a5s remains tro(blin2l5 s5mpathetic abo(t Macbeth is partl5 that he represents o(r o/n

Aedipal ambitions0 and partl5 that his opposition to tr(e nat(re is a(stian) Br(tall5 m(rdero(s0

Macbeth neertheless is pro-o(ndl5 and en2a2in2l5 ima2inatie) He is a isionar5 6acobeanhero>illain0 b(t (nlike :ichard III0 Ia2o0 and %dm(nd0 and (nlike the hero>illains o- Webster

and 3o(rne(r Bo>sola0 lamineo0 ,(doico0 4indiceD0 Macbeth takes no pride or pleas(re in

limnin2 his ni2ht>piece and -indin2 it his best) .artl5 that is

beca(se he does not and cannot limn it /holl5 b5 himsel- an5/a5) Both the s(pernat(ral and the

nat(ral pla5 a er5 lar2e partEthe /itches thro(2ho(t0 and the le2itimatel5 nat(ral0 almost2enealo2ical reen2e o- Birnam Wood comin2 to (nsinane)

3hese interentions0 demonic and retrib(tie0 mean that Macbeth neer can 2et an5thin2 ?(ite

ri2ht0 and he is al/a5s too c(rsed /ith ima2ination not to kno/ it) Macbeth0 -ar -rom bein2 the

a(thor o- that 2reatest o- all ni2ht>pieces0Macbeth! is merel5 the ob


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co2nitiel5 /e hae learned a dan2ero(sl5 attractie solipsism -rom Macbeth) Hamlet and

alsta-- are not solipsists0 -or /it demands both other seles and a /orld e=ternal to the sel-)

Macbeth is neither a /it nor a Co(nter>Machiael0 like Hamlet and alsta--0 nor a Machiael0like %dm(nd and Ia2o) He neither /rites /ith /ords nor /ith the other characters) He simpl5

m(rders /hat is o(t/ard to himsel-0 and at the end is not een certain that ,ad5 Macbeth /as not

o(t/ard to himsel-) He remains so ori2inal a representation o- the sim(ltaneo(s necessit5 anddisaster o- a constantl5 a(2mentin2 in/ardness that /e hae not ca(2ht (p /ith him 5et) .erhaps

his 2reatest horror -or (s is his broodin2 coniction that there is sense in eer5thin20 /hich

means that he is totall5 oer>determined een as he tries so m(rdero(sl5 to make himsel- intosomethin2 ne/)

II

Macbeth! een in the some/hat (ncertain -orm that /e hae it0 is a r(thlessl5 economical drama0

marked b5 a contin(o(s elo?(ence astonishin2 een -or Shakespeare) It cannot be an accident

that it is the last o- the -o(r s(preme tra2edies0 -ollo/in2Hamlet! %thello! and$ear. Shakespeare

s(rpasses een those pla5s here in maintainin2 a contin(o(s pitch o- tra2ic intensit50 in makin2eer5thin2 oer/helmin2l5 dark /ith meanin2) %arl5 on0 Macbeth states the ethos o- his drama

M5 tho(2ht0 /hose m(rther 5et is b(t -antastical0 Shakes so m5 sin2le state o- man that -(nction

Is smother'd in s(rmise0 and nothin2 is B(t /hat is not)

M(rder is the center0 and /ill not cease to perple= Macbeth0 -or /hom its ontolo2ical stat(s0 as it

/ere0 has been t/isted aske/

3he time has been0 3hat /hen the brains /ere o(t0 the man /o(ld die0 +nd there an endF b(t no/

the5 rise a2ain With t/ent5 mortal m(rthers on their cro/ns0

+nd p(sh (s -rom o(r stools) 3his is more stran2e 3han s(ch a m(rther is)

%er5thin2 that Macbeth speaks in the co(rse o- the drama leads into its most -amo(s and most

po/er-(l speech0 as -ierce a *nostic declaration as e=ists in o(r lan2(a2e

3o>morro/0 and to>morro/0 and to>morro/0

Creeps in this pett5 pace -rom da5 to da50

3o the last s5llable o- recorded timeF

+nd all o(r 5esterda5s hae li2hted -ools

3he /a5 to d(st5 death) A(t0 o(t0 brie- candleG

,i-e's b(t a /alkin2 shado/0 a poor pla5er0


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3hat str(ts and -rets his ho(r (pon the sta2e0

+nd then is heard no more) It is a tale

3old b5 an idiot0 -(ll o- so(nd and -(r50

Si2ni-5in2 nothin2)

3he dramatist0 accordin2 to Macbeth0 is the emi(r2e0 /ho destro5s all meanin2 /hatsoeer)B(t his nihilistic pla50 -eat(rin2 li-e as hero>illain0 is so badl5 acted in its most cr(cial part that

the pett5 pace o- -allen time is onl5 accent(ated) Macbeth there-ore ends in total conscio(sness

that he has been thro/n into the cosmolo2ical emptiness

I 2in to be a>/ear5 o- the s(n0

+nd /ish th' estate o' th' /orld /ere no/ (ndone)

M5sticism0 accordin2 to an ancient -orm(lation0 -ails and then becomes apocal5ptic) 3he

apocal5ptic -ails0 and then becomes *nosticism) *nosticism0 hain2 no hopes -or or in this li-e0

necessaril5 cannot -ail) Macbeth0 at the close0 cannot -ail0 beca(se he has m(rdered all hope andall meanin2) What he has not m(rdered is onl5 interest0 o(r interest0 o(r o/n deep inestment in

o(r o/n in/ardness0 at all costs0 at eer5 cost) Blood5 t5rant tho(2h he be0 Macbeth remains the

(ns(rpassed representation o- ima2ination 2one be5ond limits0 into the ab5ss o- o(r emptiness)

Macbeth

Harold &. 'oddard

Men are (robably nearer to the essential truth intheir su(erstitions than in their science.

Henr5 aid 3horea(

In spite o- the intimate links bet/eenHamlet and %thello! i- there /ere no e=ternal eidence to

the contrar5 a case co(ld be made -or the ie/ thatMacbeth /as the tra2ed5 to come ne=t a-ter

Hamlet!


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mo(ntain) 3he child o-ten resembles a 2randparent more than he does either -ather or mother0

and there is a similar alternation o- 2enerations in the /orld o- art) Beca(se one /ork is -(ll o-

echoes o- another does not proe that it m(st hae immediatel5 s(cceeded it) 3he likeness o-Macbeth toHamlet is no obstacle to the belie- that %thello came be>

rom )he Meaning of Sha"es(eare. 19"1 b5 the niersit5 o- Chica2o) 3he niersit5 o-Chica2o .ress0 19"1)D

t/een them0 nor that o-#ing $ear to %thello to the possibilit5 thatMacbeth ma5 hae

interened)

B(t someho/ the idea that#ing $ear /as /ritten be-oreMacbeth seems to inole more thanthis) It is a bit like thinkin2 that )he *rothers #arama+ov /as /ritten be-ore &rime and

Punishment. 3he analo25 is not a cas(al one)Macbeth! like &rime and Punishment! is a st(d5 o-

eil thro(2h a st(d5 o- m(rder) %ach is its a(thor's most rapid0 concentrated0 terri-ic0 and possibl5s(blime /ork) %ach is a prolon2ed ni2htmare li-ted into the realm o- art)#ing $ear and )he*rothers #arama+ov are also st(dies o- eilF b(t i- the5 so(nd no lo/er depths0 the5 do climb to

2reater hei2hts thanMacbeth and &rime and Punishment. +ll -o(r -i2ht thro(2h a2ain the old

/ar bet/een li2ht and darkness) B(t inMacbeth and &rime and Punishment /e hae ni2ht'spredominance0 as Shakespeare phrases it0 and the li2ht is that o- a star or t/o in the blackness0

/hile in#ing $ear and )he *rothers #arama+ov the stars are mornin2 stars and there is da/n on

the hori@on) I kno/ ho/ prepostero(s this /ill so(nd to those /ho consider#ing $ear thepessimistic masterpiece o- the a2es)

II

I- it be tr(e that all art aspires to the state o- m(sic0 the openin2 o-Macbeth appro=imates

per-ection) 3he contention o- the elements and the battles o- men are the themes o- the /itches'

collo?(5) B(t their lines are more oert(re than scene0 and the drama has a second openin2 in theacco(nt 2ien b5 the /o(nded Ser2eant o- Macbeth's con?(est o- the rebels) 3he passa2e is like

a smear o- blood across the -irst pa2e o- the pla5) 3he do(ble openin2 de-ines precisel5 /hat /e

are to e=pect a /ork dedicated not to the s(pernat(ral nor to blood b(t to the relation bet/eenthe t/o) 3he modern reader /ho is a-raid o- the /ord s(pernat(ral ma5 s(bstit(te

(nconscio(s)D .assion means ori2inall5 the capacit5 to be a--ected b5 e=ternal a2ents) In this

senseMacbeth is a pla5 abo(t h(man passion)

It is si2ni-icant that the /itches choose -or their -atal enco(nter /ith Macbeth not the ho(r o-battle b(t the moment

When the h(rl5b(rl5's done)

War plo/s the soil) Who /ins is not /hat co(nts) It is /hatseeds are planted

When the battle's lost and /on


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that determines the -(t(re) Anl5 that -(t(re can determine /ho did /in) 3he phrase mi2ht /ell be/ritten lost>and>/on) +lread5 inMuch ,do about -othing and,lls ell )hat Ends ell not to

mention the HistoriesD Shakespeare had to(ched on the a-tere--ects o- /ar on character) Men /ho

hae been aliant on the battle-ield can come home to act like cads or criminals in time o- peace)

3he acco(nt o- Macbeth's disembo/elin2 o- Macdon/ald is one o- the 2oriest thin2s inShakespeare) ie0 saa2e0 -ieG /e are tempted to cr50 rememberin2 Hector) B(t

A aliant co(sinG /orth5 2entlemanG

is the /a5 (ncan 2reets the blood5 stor5) +s a concordance /ill sho/0 Bernard Sha/ himsel-

takes no 2reater deli2ht than the 2entle Shakespeare in (sin2 the /ord 2entleman /ithdeastatin2 sarcasm)

,et each man render me his blood5 hand

*entlemen all0

sa5s +nton5 to the assassins o- Caesar0 conscio(s o-his iron5 as(ncan /as not)

this dead b(tcher and his -iend>like ?(een

is the /a5 Malcolm0 /ith the -inalit5 o- an epitaph0 s(ms (p this /orth5 2entleman and his /i-ein the last speech o- the pla5) It is -ittin2 that it sho(ld open /ith an e=ample o- his b(tcher5)

Macbeth0 m(rderer o- (ncan0 and Macbeth0 t5rant o- Scotland0 are implicit in Macbeth0

sla(2hterer o- Macdon/ald) et there /as a time0 /e -eel0 /hen Macbeth ma5 hae been 2entle)

3he openin2 scene and the closin2 act o-Macbeth are 2ien to /arF the rest o- the -irst act andthe second to m(rderF the third and -o(rth to t5rann5E/ith -(rther m(rder) 3he pla5 leaes (s

/ith the -eelin2 that o--ensie /ar0 crime0 and t5rann5 are merel5 di--erent -aces o- the same

monster) 35rann5 is


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Ho/ did Shakespeare hae the a(dacit5 to center a tra2ed5 aro(nd a m(rderer and t5rant0 a man

so di--erent in his appeal to o(r s5mpathies -rom a :omeo0 a Br(t(s0 or a Hamlet He had done

somethin2 o- the sort be-ore inichard 000!b(t :ichard is more nearl5 a melodramatic andtheatrical than a strictl5 tra2ic s(ccess) o(bts remain in man5 minds /hether s(ch a creat(re

co(ld eer hae e=isted) B(t Macbeth is at bottom an5 man o- noble intentions /ho 2ies /a5 to

his appetites) +nd /ho at one time or another has not been that man Who0 lookin2 back oer hisli-e0 cannot perceie some moral catastrophe that he escaped b5 inches Ar did not escape)

Macbeth reeals ho/ close /e /ho tho(2ht o(rseles sa-e ma5 be to the precipice) e/ readers0

ho/eer0 -eel an5 s(ch kinship /ith Macbeth as the5 do /ith Hamlet) We do not e=pect to betempted to m(rderF b(t /e do kno/ /hat it is to hae a diided so(l) et Hamlet and Macbeth

are ima2inatie brothers) 3he di--erence is that Macbeth be2ins more or less /here Hamlet le-t

o--)

No/ mi2ht I do it pat0 no/ he is pra5in20

sa5s the latter0 meditatin2 the death o- the in20

+nd no/ I'll do 't) +nd so he 2oes to heaenF +nd so am I reen2'd) )hat would be scannd.

Stran2e thin2s I hae in head0 that /ill to hand0 Which m(st be acted ere they may be scannd!

sa5s Macbeth0 plottin2 the destr(ction o- the Macd(--s Ja(thor's italicsK) 3he t/o co(plets seem

/ritten to match each other) et Hamlet had to 2o do/n onl5 a corridor or so -rom the pra5in2

in2 to commit a deed0 the killin2 o- .oloni(s0 o- /hich Macbeth's co(plet is a per-ectcharacteri@ation)

M5 stran2e and sel->ab(se0

sa5s Macbeth0 (nstr(n2 at the si2ht o- Ban?(o's 2host0

Is the initiate -ear that /ants hard (se We are 5et b(t 5o(n2 in deed)

eeds0 he diines0 are the onl5 opiates -or -ears0 b(t their de-ect as a remed5 is the -act that the

dose m(st be increased /ith an alarmin2rapidit5)

A0 -rom this time -orth0

cried Hamlet0 shamed at the si2ht o- the e--icient ortinbras0

M5 tho(2hts be blood50 or be nothin2 /orthG

3he Macbeth>in>Hamlet meant deeds!b(t there /as eno(2h o- the ori2inal Hamlet still le-t in

him to keep it tho(2hts) B(t blood5 tho(2hts are the seed o- blood5 deeds0 and Macbeth0 /ith

the er5 accent o- the ortinbras solilo?(50 sa5s0 /itho(t Hamlet's e?(iocation0


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-rom this moment 3he er5 -irstlin2s o- m5 heart shall be 3he -irstlin2s o- m5 hand)

3he harest o- this creed is o- co(rse a complete atroph5 o- heart)

3he time has been m5 senses /o(ld hae cool'd 3o hear a ni2ht>shriek0

he sa5s /hen that atroph5 has oertaken him0

and m5 -ell o- hair Wo(ld at a dismal treatise ro(se and stir +s li-e /ere in't)

3hat is Macbeth 2a@in2 back0 as it /ere0 into his Hamletian past +n2els and ministers o- 2racede-end (sGD0 ?(ite as Hamlet looks -or/ard into his Macbethian -(t(re) In that sense the rest /as

not silence)

Hamlet is to Macbeth some/hat as the *host is to the Witches) :een2e0 or ambition0 in itsinception ma5 hae a lo-t50 een a mablooded as the earlier Macbeth /hen he kills

.oloni(s and the in20 cold>blooded as the later Macbeth or Ia2o /hen he sends :o>sencrant@and *(ildenstern to death) I- in %thello /e can trace -ra2ments o- a diided Hamlet

transmi2rated into esdemona and Ia2o0 inMacbeth an (ndiided Hamlet keeps strai2ht on/ard

and do/n>

/ard in Macbeth himsel-) 3he m(rderer o- (ncan inherits Hamlet's sensibilit50 his nero(s

irritabilit50 his h5sterical passion0 his e=traordinar5 2i-ts o- is(ali@ation and ima2inatie

e=pressionF and (nder the insti2atin2 in-l(ence o- his /i-e the rashness and indiscretion o-the later Hamlet are pro2ressiel5 translated into a s(ccession o- mad acts)

It is this perhaps that e=plains the main technical pec(liarit5 o-Macbeth! its breit5) It is so short

that not a -e/ hae tho(2ht that /hat has come do/n to (s is


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atmosphcrc that Shakespeare breathed) In that case0 he did not make his pla5s o(t o- the

s(rro(ndin2 atmosphere)

.ro-essor Stoll cites n(mero(s near>contemporar5 e=amples in /hich


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o- them to2ether0 one is o-ten o- the care-ree sort /hile one /ill hesitate and tremble) .ro-essor

Stoll's admission in passin2 that in comedy the earlier drama appro=imates /hat he calls the -acts

abo(t the criminal nat(re is -atal to his ar2(ment) or in that case the practice in tra2ed5 o-Shakespeare and the other choice and master spirits /as obio(sl5 not the res(lt o- i2norance b(t

o- somethin2 distinctie abo(t the tragic criminal)

What that somethin2 is0 the di--erence bet/een Macbeth and ,ad5 Macbeth makes plain0 -or the

h(sband0 not the /i-e0 is the tr(l5 tra2ic -i2(re0 and the pla5 is ri2htl5 entitled Macbeth! not )heMacbeths. .ro-essor Stoll's o/n criminolo2ical data s(22est


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and to sa50 in e--ect0 e=actl5 as Shakespeare makes Macbeth sa5

Better be /ith the dead0 Whom /e0 to 2ain o(r peace0 hae sent to peace0 3han on the tort(re o-

the mind to lie In restless ecstas5)

Crime and p(nishment0 sa5s %merson0 2ro/ o(t o- one stem) ) ) ) +ll in-ractions o- loe ande?(it5 in o(r social relations

are speedil5 p(nished) 3he5 are p(nished b5 -ear) ) ) ) Commit a crime0 and the earth is made o-2lass) Commit a crime0 and it seems as i- a coat o- sno/ -ell on the 2ro(nd0 s(ch as reeals in the

/oods the track o- eer5 partrid2e and -o= and s?(irrel and mole) Was %merson0 too0 an

%li@abethan An the contrar50 like Shakespeare and osto5eski0 he /as not a -ool o- time)

Shakespeare's pla5 and osto5eski's noel are both dedicated to the proo- o- %merson's

proposition) i--erent as are the literar5 traditions -rom /hich the5 stem0 opposite in man5respects as are the techni?(es o- drama and -iction0 point b5 point0 detail b5 detail0 Shakespeare's

and osto5eski's treatments o- the criminal heart and mind correspond) It is one o- the mostimpressie analo2ies in all literat(re an oer/helmin2 demonstration that 2eni(s is independent

o- time) .s5cholo2icall5 he /as -or the a2e correct0 sa5s .ro-essor Stoll o- Shakespeare) +s i-

the so(l altered -rom a2e to a2e0 and /as b(s50 abo(t +)) 1;!!0 con-ormin2 to the conentionso- the %li@abethan sta2eG In that da5 /hen men still belieed in diabolical possession0 he

be2ins) +s i- 6ob and +esch5l(s0 ante and the *ospels /ere obsoleteG 3he -act that the i2norant

o- all a2es hae belieed in diabolical possession in a s(perstitio(s sense is no reason -or

blindin2 o(r e5es to the -act that the ima2inatie 2eni(ses o- all a2es hae also belieed in it inanother and pro-o(nder sense) +nd so0 too0 o- the prodi2ies in the sk5 and else/here that

accompan5 m(rder in Shakespeare and the %li@abethan drama) 3hro(2h it all0 sa5s .ro-essor

Stoll0 r(ns the notion that the moment o- sin and the manner o- the sinner are somethin2prodi2io(s and be5ond the bo(nds o- nat(re0 as indeed the5 appear to be in the person o- man5 a

-amo(s actor /ho sa/s the air in old paintin2s and prints) .ro-essor Stoll in that sentence comes

perilo(sl5 close to sa5in2 that the moment o- sin is notprodi2io(s) 3he possibilit5 that theses(pposedl5 astronomical and other portents ma5 be ps5chical rather than ph5sical phenomenaE

/akin2 ni2htmares pro


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crime0 instantl5 transcendental po/ers r(sh to the scene as i- -ear-(l lest this sin2le deed shi-t the

moral center o- 2rait5 o- the (nierse0 as a -in2er ma5 tip an immense bo(lder that is in delicate

e?(ilibri(m) Macbeth and ,ad5 Macbeth as she /as at the o(tsetD seem created to stress thisdistinction) + little /ater clears (s o- this deed0 is her reaction to the m(rder o- (ncan)

Will all 2reat Nept(ne's ocean /ash this blood Clean -rom m5 hand No0 this m5 hand /illrather 3he m(ltit(dino(s seas incarnadine0 Makin2 the 2reen one red0

is his) Ane /onders /hether the s(premac5 o- the moral ima2ination oer the material (nierse/as eer more tremendo(sl5 e=pressed than in those -o(r lines) In them0 space is0 as it /ere0

-oreer p(t in its place) When ,ad5 Macbeth0 in the end0 attains the same insi2ht that is

Macbeth's instantl5Eall the per-(mes o- +rabia /ill not s/eeten this little handEshe does notpass0 it is to be noted0 to the second part o- the 2enerali@ation) It is this de-ect in ima2ination that

makes her0 i- a more pathetic0 a less tra2ic -i2(re than her h(sband)

3he medieal mind0 in the tradition o- m5tholo250 represented the tra2ic con-lict0 /hich o(r

irreli2io(s a2e is likel5 to think o- as


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3his passa2e makes clear /h5 an (nmediated polarit5 is a distin2(ishin2 mark o- the

(nconscio(s and s(22ests a biolo2ical reason -or the elphic character o- all tr(e oracles) %er5

sentence0 declares 3horea(0 has t/o sides Ane -aces the /orld0 b(t the other is in-inite andcon-ronts the 2ods) +n orac(lar (tterance is merel5 an e=treme -orm o- s(ch a sentence0 an

incarnation in microcosmic -orm o- the d(alit5 B(tler depicts) In choosin2 bet/een its /orldl5 or

in-ernal and its (n/orldl5 or celestial meanin20 the indiid(al /itho(t reali@in2 it recr(its anarm50 the 2ood or bad imp(lses and acts o- millions /ho hae 2one be-ore him) reams tooE

man5 o- them Ehae this ambi2(o(s character and /itho(t iolence to their ima2er5 can o-ten

be taken in contradictor5 senses) +nd tra2ic iron5 al/a5s can) B(t so hidden ma5 be the secondmeanin2 that it re?(ires the -(t(re to reeal it0 as it ma5 take a second or seeral readin2s to

(ncoer it in the printed pla5)

4I

rom end to end0Macbeth is packed /ith these elphic e--ects as is no other /ork o-

Shakespeare's /ords0 acts0 and sit(ations

/hich ma5 be interpreted or taken in t/o /a5s at the peril o- the chooser and /hich in the

a22re2ate prod(ce an oer/helmin2 coniction that behind theisible /orld lies another /orld0immeas(rabl5 /ider and deeper0 on its relation to /hich h(man destin5 t(rns) +s a -ace no/

reeals and no/ conceals the li-e behind it0 so the isible /orld no/ hides this other /orld as

does a /all0 no/ opens on it as does a door) In either case it is thereEthere not as a matter o-philosophical spec(lation or o- theolo2ical tradition or h5pothesis0 b(t there as a matter o-

ps5chic -act)

Scholars /ho dismiss the s(pernat(ral elements inMacbeth as sta2e conention or

condescension to pop(lar s(perstition stamp themseles as hopelessl5 insensitie not merel5 topoetr5 b(t to sincerit5) Not onl5 the plot and characters o- the pla50 /hich are (p to a certain

point the a(thor's inentions0 b(t its m(sic0 ima2er50 and atmosphereEe--ects onl5 partl5 (nder

his conscio(s controlE(nite in 2iin2 the impression o- mi2ht5 and inscr(table -orces behindh(man li-e) Anl5 one coninced o- the realit5 o- these -orces co(ld conceiabl5 hae imparted

s(ch an oer/helmin2 sense o- their presence) Neither co(ld a mere sta2e contriance hae

e=ercised the in-l(enceMacbeth has oer the ima2inations o- later poets Milton0 Blake0 the

eats o-Hy(erion! %mil5 Bront0 to name no others) %ach sees the poet's ocation0 asShakespeare did inMacbeth! as an attempt to reclaim a dark re2ion o- the so(l) Shine in/ard0

is the blind Milton's pra5er to Celestial ,i2ht0 ) ) ) there plant e5es) 3o open the immortal %5es

o- Man in/ards0 sa5s Blake0 is his 2reat task) 3o see as a 2od sees0 cries eats0

and take the depth A- thin2s as nimbl5 as the o(t/ard e5e Can si@e and shape perade)

Macbeth is a milestone in man's e=ploration o- precisel5 this depth o- thin2s /hich o(r a2e

calls the (nconscio(s) 3he er5 phrase depth ps5cholo25 has been (sed to di--erentiate the

ps5cholo25 o- the (nconscio(s -rom shallo/er attempts to (nderstand the mind)


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3he more obio(sl5 6an(s>like passa2es inMacbeth! /here the s(r-ace meanin2 is contradicted

-rom belo/0 hae o-ten been pointed o(t) 3he do(ble intention o- the three prophecies

concernin2 the in(lnerabilit5 o- Macd(--0 Birnam Wood0 and the pro2en5 o- Ban>?(o no oneco(ld miss) 3hese0 to be s(re0 hae their theatrical aspect) B(t the5 hae (niersal (ndertones

and oertones) Man5 e=>

amples o- dramatic iron5 in the pla50 too0 are -amiliar Macbeth's ail not o(r -east0 /ith

Ban?(o's prophetic repl50 M5 lord0 I /ill notF the entrance o- Macbeth the moment a-ter

(ncan has asserted that treacher5 cannot be read in the -aceF the appearance o- ,ad5 Macbeth


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detect it be-ore his mind) He m(st hear the so(nd in Macbeth's listenin2 attit(de0 in the a/e on

his -ace0 be-ore the ph5sical so(nd reaches his ear) He0 like Macbeth0 m(st be in do(bt as to

/hether he has heard or onl5 ima2ined) +nd so the sta2e so(nd sho(ld be2in belo/ the a(ditor5threshold and mo(nt in a 2rad(al crescendo (ntil it becomes ind(bitabl5 the po(ndin2 at the 2ate0

/hich0 /ith the dissipation o- do(bt0 brin2s Macbeth back to earth)

Wake (ncan /ith th5 knockin2G I /o(ld tho( co(ldstG

He is at the 2ate o- hell indeed) B(t still o(tside) :epentance is 5et possible) 3he c(e -or the.orter's speech0 /hich -ollo/s immediatel50 is as per-ect as i- it had been 2ien b5 tho(2ht>

trans-erence) +nd 5et the a(thenticit5 o- the .orter scene has been do(btedG

Is the kin2 stirrin20 /orth5 thane Macd(-- in?(ires /hen the 2ate has -inall5 been opened and

a-ter Macbeth has ret(rned) Not 5et0 replies Macbeth0 and /hat a sh(dder the -(t(re reads intothose t/o /ordsG

3his is the door0 sa5s Macbeth) o(r /ords0 this time0 instead o- t/o0 and as ordinar5 ones asthere are in the lan2(a2e) et0 as Macbeth (tters them0 the5 seem /hispered back at him in a

oice no lon2er his o/n0 -rom the er5 bottom o- the (nierse) Ho/ shall an actor 2et this e--ectHe cannot) It transcends the theater as certainl5 as it does not transcend the ima2ination o- the

sensitie reader)

oes ,ad5 Macbeth -aint0 or onl5 pretend to -aint0 -ollo/in2 the discoer5 o- the m(rder 3he

point has been m(ch debated) %er5thin2 she sa5s or does in this scene is necessaril5 pretense)She is compelled b5 the sit(ation to ape the s5mptoms o- -ear) B(t the actin2 b5 her bod5 o- an

ass(med -ear is the s(rest /a5 o- openin2 a channel to the 2en(ine -ear she is tr5in2 to hide) +s

in the case o- Hamlet's antic disposition0 the co(nter-eit on the s(r-ace elicits the tr(e -rom

belo/)

I /ill not do 't0

cries Coriolan(s /hen his mother be2s him to 2o thro(2h themotions o- obeisance to the people0

,est I s(rcease to hono(r mine o/n tr(th0 +nd b5 m5 bod5's action teach m5 mind + most

inherent baseness)

3he ps5cholo25 here is the same0 e=cept that ,ad5 Macbeth does /hat Coriolan(s declares he

/ill not do) eintin2 becomes -aintin2) B5 sheer /illpo/er pl(s a stim(lantD ,ad5 Macbeth hasheld the (nconscio(s o(t) No/ its in(ndation be2ins) 3he end is the sleep/alkin2 sceneEand

s(icide)

+t the be2innin2 o- the third act Macbeth plans the m(rder o- Ban?(o) He tries to conince the

t/o c(tthroats he has picked -or the deed that their ill -ort(nes in the past /ere not d(e to him0 asthe5 tho(2ht0 b(t to Ban?(o) His mind is so con-(sed0 ho/eer0 that not onl5 can he not keep


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track o- the passa2e o- time Was it not 5esterda5 /e spoke to2etherD0 b(t he mi=es hopelessl5

these men's s(pposed 2rieances a2ainst Ban?(o in the past /ith his o/n -ears o- him at present

and in the -(t(re

+re 5o( so 2ospell'd 3o pra5 -or this 2ood man andfor his issue! Whose hea5 hand hath bo/'d

5o( to the 2rae,nd beggard yours for ever1

Ja(thor's italicsK

It is the descendants o- Ban?(o0 not the children o- the m(rderers0 he is /orr5in2 oer) +nd so o-

the -ierce passa2e abo(t the do2s that -ollo/s) +2ain0 it is o- himsel-0 not o- them0 he is speakin20(na/ares)

What beast /as 't0 then0 3hat made 5o( break this enterprise to me

,ad5 Macbeth had asked lon2 be-ore) +t last Macbeth reali@es that he is indeed slippin2 belo/

een the /orst rank o- manhood to a bestial leel o- demi>/oles and ho(nds) A- insects0eenG as the most horri-5in20 and 5et pathetic0 line in the pla5 reeals in the ne=t scene

A0 -(ll o- scorpions is m5 mind0 dear /i-eG

+nd so0 /hen he cries to the t/o he is s(bornin20 o(r spirits shine thro(2h 5o(0 /e kno/ the

spirits he 2limpses behind them are the same black a2ents to /hich he has sold himsel-)

Indeed0 so closel5 does he identi-5 himsel- /ith these men and the deed the5 are to commit -orhim that he tells them no less than -o(r times in a do@en lines that he /ill be /ith them presentl5

a2ain I /ill adise 5o(F

JI /illK ac?(aint 5o(F I'll come to 5o( anonF I'll call (pon 5o( strai2ht)

+s the third scene o- the third act opens0 a third m(rderer has


19/133

and the point has added -orce /hen /e recall that .ortia Bassanio's .ortiaD and Imo2en coered

absences -rom home that the5 did not /ish noted0 in


20/133

Macbeth's bod5E/ho kno/sEma5 hae been sh(t (p in his chamber at the palace) B(t /here

/as the man himsel-Ehis ambition0 his -ear0 his strainin2 inner ision0 his /ill 3he5 /ere so

(tterl5 /ith the hired instr(ments o- that /ill that /e can almost ima2ine them capable o-incarnatin2 themseles in a spectral bod5 and pro


21/133

+nd damn'd all those that tr(st themG I did hear 3he 2allopin2 o- horse /ho /as 't came b5

lenno= '3is t/o or three0 m5 lord0 that brin2 5o( /ord Macd(-- is -led to %n2land)

3he Weird Sisters co(ld not hae been -ar o--0 either0 /hen Ban?(o /as m(rdered) It is

interestin20 to sa5 the least0 that it is the 3hird

M(rderer /ho -irst hears the horses) Whoeer he is0 he is like Macbeth in bein2 sensitie to

so(nd) He and Macbeth0 it mi2ht be said0 hear ear to ear)

$) 3he 3hird M(rderer's ne=t speech is his lon2est) 3o the irst M(rderer's His horses 2oabo(t0 he replies

+lmost a mileF b(t he does (s(all5E

So all men doE-rom hence to th' palace 2ate

Make it their /alk)

ashes0 in place o- the more (s(al commas0 help brin2 o(t /hat is plainl5 a slip o- the ton2(e onthe 3hird M(rderer's part) He has be2(n to reeal /hat in the circ(mstances is a s(spicio(s

-amiliarit5 /ith Ban?(o's habits0 /hen0 reali@in2 his mistake0 he h(rriedl5 tries to coer it /ith

his plainl5 parenthetical so all men do and his conse?(entl5 necessar5 s(bstit(tion o- their-or his) B(t Macbeth does m(ch the same thin2


22/133

.(t o(t the li2ht0 and then p(t o(t the li2ht0

to make (s a/are o- a second meanin2 in this simple ?(estion) It /as the ?(estion that Macbeth

m(st neer hae ceased to ask himsel- as he /ent on do/n into (tter darkness)

;) 3here's b(t one do/nF the son is -led) 3he 3hird M(rderer is more pert(rbed than the othersat the escape o- leance) When at

the be2innin2 o- the ne=t scene Macbeth learns -rom the irst M(rderer o- the death o- the -atherand the -li2ht o- the son0 he cries

3hen comes m5 -it a2ain) I had else been per-ect0

Whole as the marble0 -o(nded as the rock0

+s broad and 2eneral as the casin2 air

B(t no/ I am cabin'd0 cribb'd0 con-in'd0 bo(nd in

3o sa(c5 do(bts and -ears)

It is mainl5 on this speech that those /ho hold abs(rd the idea that Macbeth /as the 3hirdM(rderer rest their case0 proo-0 the5 sa50 that the ne/s o- leance's escape came to him as a

s(rprise) B(t others think the lines hae the same marks o- insincerit5 combined /ith

(nconscio(s tr(th as those in /hich Macbeth pretended to be s(rprised and horri-ied at the death

o- (ncan)

+ll this abo(t the 3hird M(rderer /ill be partic(larl5 abhorrent to realists0 /ho /o(ld brin2

eer5thin2 to the bar o- the senses0 and lo2icians0 /hose -(ndamental a=iom is that a thin2

cannot both be and not be at the same time) Ane /onders i- the5 neer had a dream in /hich oneo- the actors both /as and /as not a character -rom so>called real li-e) +n5thin2 that can

happen in a dream can happen in poetr5) Indeed this scene in /hich Ban?(o dies seems one o-

the most remarkable con-irmations in Shakespeare o- Niet@sche's main thesis in )he *irth of)ragedy! that dreams and the drama come o(t o- a common root) When an a(dience 2athers in a

theater0 the5 come0 i- the pla5 is /orth5 o- the theater's 2reat tradition0 not to behold a transcript

o- the same old da5li2ht li-e0 b(t to dream to2ether) In his bed a man dreamin2 is c(t o-- -rom all

social li-e) In the theater he is dreamin2 one dream /ith his -ello/s)

4II

rom his enco(nter /ith the 2host o- Ban?(o at the ban?(et0 Macbeth0 too deep in blood to t(rn

back0 repairs at the be2innin2 o- act # to the Witches' caern0 bent on e=tortin2 the tr(th abo(t the

-(t(re0 ho/eer bad0 -rom these -ilth5 ha2s0 as he calls them in sel->tort(re) Which raises the


23/133

?(estion /e hae intentionall5 postponed Who are the Weird Sisters 3he ates 6(st three old

/omen Ar somethin2 bet/een the t/o

3heir o/n re-erence to o(r masters /o(ld r(le o(t the idea that the5 are 3he ates or 3heNorns0 i- nothin2 else did) Bradle5

declares /itho(t ?(ali-ication 3here is not a s5llable inMacbeth to impl5 that the5 are an5thin2b(t /omen) B(t certainl5 almost eer5 s5llable o- the pla5 that has to do /ith them implies that0

/hateer the5 are0 the5 are in intimate contact /ith that dark nder/orld /ith the e=istence o-

/hich the pla5 is centrall5 concerned) In accordance /ith the pop(lar ideas0 Bradle5 2oes on to

sa50 the5 hae receied -rom eil spirits certain s(pernat(ral po/ers0 to control the /eather0 -ore=ample0 to become inisible0 to -oresee the -(t(re0 and so on) So /hen /e behold them act(all5

doin2 these thin2s in the pla5 it makes little di--erence /hether /e consider them s(pernat(ral

bein2s themseles or /omen /ho hae sold their so(ls to s(pernat(ral bein2s) 3he impression in

either case is the same that o- demi>creat(res0 a2ents and proc(rers o- those po/ers that0 /henmen's /ills -alter0 p(ll them do/n o(t o- their -reedom as the earth does the bod5 o- a bird /hose

/in2s hae -ailed)

+t the o(tset there is somethin2 m5sterio(s and /onder-(l abo(t the Witches0 b(t the5 2ro/pro2ressiel5 more noisome and dis2(stin2 as Macbeth 5ields to them) S(ch is eer the relation

o- temptation to sin) 3he poet has sho/n (s ario(s earlier sta2es o- moral disinte2ration in

Henr5 I40 Henr5 40 Br(t(s0 Hamlet0 and others) Here is the same thin2 carried immeas(rabl5-(rther) It is as i- man's inte2rit50 once hain2 be2(n to split (p0 tends to diide -(rther and

-(rther0 like the process o- or2anic 2ro/th reersed) 3he Witches0 representin2 this process0

resemble -ra2ments o- those /ho0 hain2 taken and -ailed the h(man test0 /o(ld reen2e

themseles on those /ho are tr5in2 to pass it b5 dra22in2 them back to chaos) 3he5 met me inthe da5 o- s(ccessG It is easier to -all than to -l50 to destro5 than to create0 to become like matter

than to become like li2ht) Whoeer enlists on the side o- destr(ction becomes in that sense an

a2ent o- -ate)

3he in2redients o- the Witches' caldron con-irm this conception o- them) 3hose in2redients are

thin2s that in m5tholo25 and s(perstition0 in the old nat(ral philosoph5 and in o(r o/n ancestral

conscio(sness0 are associated /ith the darkest and cr(elest elements o- h(man nat(re thin2s

oracio(s like the shark0 sinister like the bat0 poisono(s like the adder0 or raeno(s like the /ol-Eand o- these onl5 -ra2ments0 pre-erabl5 their most no=io(s or loathsome parts0 the tooth0 the

scale0 the stin20 the ma/0 the 2all0 the entrails) 3o this predominantl5 animal bre/ are added a

-e/ e2etable elements0 like hemlock and 5e/0 s(22estie o- death and the 2rae0 and a -e/ re>

p(tedl5 s(bh(man ones -rom 3(rk or 3artar) + baboon's blood cools the /hole)

Here Shakespeare is merel5 reiteratin2 in intensi-ied s5mbolic -orm /hat he has said -rom the

be2innin2 abo(t (nre2(lated appetite and passion) Here0 recompo(nded into a sort o- in-ernal


24/133

?(intessence0 is the /orst in the spirits o- s(ch men as Cardinal .and(lph and Cardinal Bea(-ort0

o- on 6ohn and 6ohn o- ,ancaster0 o- 3her>sites and Ia2o) It is as i- h(man nat(re0 /hich neer

deeloped a special 2land -or the secretion o- enom0 tends /hen it de2enerates to t(rn eer5or2anEhand0 lip0 and brainEinto s(ch a 2land) 3he /hole bod5 e=(des malice and spite o- li-e)

3he /itches are embodiments o- this death>-orce) Women A- co(rseEand /ho has not seen and

t(rned a/a5 in horror -rom /omen /ho hae re2ressed be5ond the distinctions o- se=)

o( sho(ld be /omen0 +nd 5et 5o(r beards -orbid me to interpret 3hat 5o( are so)

Ho/ -ittin20 a-ter man has done his (tmost thro(2h /ar to brin2 disorder0 that the ca(se o- still

-(rther dissipation to/ard chaos sho(ld pass0 /hen /ar closes0 into the hands o- these /i@enedha2s0 the nat(ral representaties o- the metaph5sicall5 -emale role o- matter in the (nierseG

%arth /e think o- as clean and bea(ti-(l0 b(t spirit 2one back to matter is0 in all senses0 another

matter) It is then somethin2 miasmic and rotten) ,ilies that -ester smell -ar /orse than /eeds) It

is not


25/133

It is this co/ardl5 strata2em /hich -inall5 coninces Macbeth that the enterprise is sa-e0 and

/hich leads0 /hen the m(rder is discoered0 to the (npremeditated death o- the chamberlains at

Macbeth's hands)

-irst /itch Where hast tho( been0 sister second /itch illin2swine.

Ja(thor's italicsK

3he second /itch and ,ad5 Macbeth are abo(t the same b(siness) Who can ?(estion /ho po(red

the s(22estion into ,ad5 Macbeth's ear0 and helped Macbeth to e=ec(te it later It is the +dam

and %e stor5 oer a2ain0 /ith the /itches in the role o- the Serpent) et these same /itches arepo/erless oer those /ho do not meet them hal-/a5

third /itch Sister0 /here tho(

-irst /itch + sailor's /i-e had chestn(ts in her lap0

+nd m(nch'd0 and m(nch'd0 and m(nch'd) *ie me0 ?(oth I)

+roint thee0 /itchG the r(mp>-ed ron5on cries)

3he /itch is impotent (nder the e=orcism0 and s/ears to tr5 her l(ck in reen2e on the /oman'ssailor h(sband) So little0 Shakespeare th(s makes plain0 is there an5 -atalism inoled in the

pro=imit5 o-

the Weird Sisters /here a resol(te /ill resists) ire is hot) +nd -ire is -ascinatin2 to a child) I- thechild 2oes too near the -ire0 he /ill be b(rned) We ma5 call it -ate i- /e /ill) It is in that

conditional sense onl5 that there is an5 -atalism inMacbeth.

4III

3he end o- the stor5 is mainl5 an acco(nt o- ho/ these t/o once h(man bein2s pass into that

s(bh(man realm o- disinte2ration /here the /itches are at home) Ane is p(shed into the ab5ss as

it /ere b5 her memories) 3he other leaps into it -anaticall50 as i- embracin2 it) Her -all is

primaril5 piti-(lF his0 -ear-(l)

Beca(se0 be-ore the deed0 ,ad5 Macbeth s(--ered -rom de-ect o- ima2ination and e=cess o-propensit5 to act0 her p(nishment0 in compensation0 takes the -orm o- bein2 p(rs(ed0 as b5 -(ries0

b5 her memories0 b5 the -acts o- the past) Ho/ eas5 is it0 thenG she had said) What's done

cannot be (ndone0 she sa5s no/) ormerl5 she scorned her h(sband -or his moments o-abstraction

Be not lost So poorl5 in 5o(r tho(2hts)


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No/ she is not onl5 lost b(t b(ried in her o/n0 abstracted to thepoint o- somnamb(lism)

Come0 thick ni2ht0 +nd pall thee in the d(nnest smoke o- hell0

she had pra5ed on the er2e o- the -irst m(rder) Hell is m(rk5G she m(tters in the sleep/alkin2

scene) Her pra5er is ans/ered) She is there) She has a li2ht /ith her contin(all5 in a ain attemptto sh(t o(t the ima2es that -ollo/ one another in perpet(al s(ccession) 3he blood r(ns -rom the

old man's bod5 (nendin2l5) She /ashes her hands oer and oer) S(ch a circle is madness) ,ad5

Macbeth is ca(2ht in it) She pre-ers death)

Beca(se Macbeth sa/ the horror in adance and shrank -rom action0 5et let himsel- be enticed oninto it0 onl5 to /ish his crime (ndone the moment he had committed it0 his p(nishment takes the

-orm o- a -(r5 o- deeds) He meets an5/here0 in -(ll da5li2ht0 the specters that at -irst came to

him onl5 b5 t/ili2ht or at ni2ht) I- hers is a retrospectie and noct(rnal0 his is a di(rnal anddramatic ni2htmare) I- she is transported to an (nder/orld0 he trans-orms his o/n

li-e into hell) It becomes an alternation o- -ear and -(r5) His perpet(al reass(rance to himsel- thathe cannot kno/ -ear is a meas(re o- the -ear he -eels) +s his hand once d5ed the /orld red0 his

heart no/ paints it a sickl5 /hite) Cream>-ac'd loonG ) ) ) lil5>lier'd bo5 ) ) ) linen cheeks ) ) )

/he5-ace) 3hese are not so m(ch descriptions o- /hat he sees as pro


27/133

3he5 hae tied me to a stakeF I cannot -l50 B(t0 bear>like0 I m(st -i2ht the co(rse)

3hat mi2ht /ell be the memor5 o- some bearbaitin2 Shakespeare /itnessed as a bo5) +nd

another to(ch pierces een deeper) When Macd(-- -inall5 con-ronts the obho(nd0 t(rnG Macbeth e=claims

A- all men else I hae aoided thee)

B(t 2et thee backF m5 so(l is too m(ch char2'd

With blood o- thine alread5)

It is his sole con-ession o- remorse) B(t like one star in the blacknessit is the bri2hter on that

acco(nt)

IO

3he -o(rth act o-Macbeth has been acc(sed o- sa22in2) It has een been prono(nced tedio(s)

+-ter the concentration o- the -irst three acts on the t/o central characters0 a -o(rth act /hichomits both o- them e=cept -or its -irst scene is bo(nd to -all o-- some/hat in interest) et the lon2

passa2e in /hich Malcolm tests Macd(--0 to make certain that he is not a hidden a2ent o-

Macbeth0 is


28/133

3his is a sort o- inerted or celestial iron5) Malcolm thinks he is sti2mati@in2 himsel- as the

(nd5in2 enem5 o- peace0 b(t oer his head the /ords are a prophec5 that0 /hen he comes to the

throne0 his loe o- peace /ill ass(a2e the in-ernal state to /hich Scotland has been red(ced(nder Macbeth) +t the si2ht o- Macd(--'s 2en(ine 2rie- Malcolm is coninced o- his inte2rit5 and

abtheme to the main s(b


29/133

deiated) Socrates and Shakespeare are obedient to them) 3hose habits0 /e ma5 be certain0 hae

not been altered b5 the materialisms and rationalisms o- a -e/ 2enerations o- the nineteenth and

t/entieth cent(ries) (rin2 those 2enerations it became -ashionable to beliee that thin2sps5chical are a sort o- prod(ct or secretion o- the brain) aced s(ddenl5 /ith ps5chic realit5

itsel-0 as it has been in t/o /orld /ars0 this (nheroic philosoph5 no/ cries o(t in consternation

/ith Macbeth

3he time has been0 3hat0 /hen the brains /ere o(t0 the man /o(ld die0 +nd there an endF b(tno/ the5 rise a2ain With t/ent5 mortal m(rders on their cro/ns +nd p(sh (s -rom o(r stools)

3his is more stran2e 3han s(ch a m(rder is)

It is indeed0 and -rom end to end the pla5 is sat(rated /ith this stran2eness) We p(t it do/n /iththe ineradicable coniction that the instr(ments o- darkness o- /hich it tells are real) It has

e=posed the sensitie ima2ination to an e=perience /hich other/ise onl5 personal ind(l2ence in

cr(elt5 mi2ht impart)

3here are some h(man conscio(snesses0 sa5s 6ohn Co/per .o/5s0

/ho are tempted to 2ie themseles (p to a pleas(re in cr(elt5F b(t i- the5 kne/ the (nspeakable

2hastliness o- the realit5 the5 are th(s creatin2 -or themseles0 the5 /o(ld stop dead0 there /herethe5 stand0 /ith a shier o- paral5@ed sel->loathin2) 3hat s(ch cr(elt5 is s(icidal -rom a h(man

stand>point0 the5 kno/ /ell) 3he5 kno/ the ordinar5 h(man hell the5 are preparin2 -or

themseles) What the5 don't seem to kno/ is the -ar /orse cosmic 3error the5 are brin2in2 do/n

(pon them) Insanit50 that's /hat it isF not merel5 h(man insanit50 b(t (n(tterable0 (nspeak> ' able0nonhuman insanity. Sometimes in dreams o- the ni2ht people /ho hae been deliberatel5 cr(el

2et a 2limpse o- /hat the5 hae done0 and what com(anions they have now got.

3he ps5cholo25 o- cr(elt5 is a stran2e thin2) 3he cr(el person sa5s to himsel- I hae 2ot

be5ond h(man la/ and h(man -eelin2) +ll is no/ permitted me0 i- I can b(t harden m5 heart),ittle does he kno/G Better had he neer been born than have gone where he has gone and

attached to himsel- the 2hastliness o- the ab5ss that no/ clin2s to him) 3he Hell o- the

mediaeal ima2ination is a poetical ance o- the ab5ss /o(ld sooner hence-orth hold their hands in a candle>-lameand b(rn them to the bone0 than 2ie themseles (p to deliberate cr(elt5)

3his is precisel5 the Horror enco(ntered at death b5 (rt@0 the %(ropean /ho reerted to +-rican

saa2er50 in Conrad'sHeart of 2ar"ness. It is the Horror o- /hich Henr5 6ames 2ies more than

a 2limpse in )he )urn of the Screw.

OI


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B(t no/ at the end comes the stran2est and most parado=ical -act abo(t this pla5) +nd the

loeliest) I-Macbeth is Shakespeare's escent into Hell0 it is also his sprin2 m5th) 3his pict(re o-

black>

ness is -ramed in li2ht0 placed0 /e mi2ht almost sa50 a2ainst a back2ro(nd o- erd(re)

Shakespeare anno(nces this theme0 ho/eer -aintl50 in the -irst pa2es o- the pla5) 3he bleedin2Ser2eant brin2s /ord that peace has been made /ith the rebels b(t that -resh /ar at the same

moment has broken o(t /ith Nor/a5) So storms0 he sa5s0 sometimes come -rom the east /here

the s(n rises0 or discom-ort -rom sprin2 /hich promises com-ort) Since /ord is immediatel5

bro(2ht that Macbeth has aerted the ne/ threat /ith a second ictor50 /e dismiss the Ser2eant'smetaphor -rom mind0 not noticin2 ho/ m(ch better it -its the pla5 as a /hole than the minor

incidents to /hich he applies it) or /hat is the t5rann5 o- Macbeth bet/een the rei2ns o-

(ncan and Malcolm b(t /inter come back a-ter the promise o- sprin2 onl5 to be oercome in

t(rn b5 sprin2 itsel- or0 ho/eer dela5ed0 sprin2 al/a5s /ins) So Malcolm and Macd(--s(bd(e the t5rant and Scotland looks -or/ard to a dispensation o- peace) 3h(s does a -i2(re -rom

its -irst pa2e impart to the pla5 its (nderl5in2 pattern)

+ll this0 ho/eer /ell it -its0 mi2ht seem like makin2 too m(ch o(t o- a metaphor thro/n o(t socas(all50 i- /e did not kno/ Shakespeare's habit o- anno(ncin2 important themes in the openin2

lines o- his pla5s0 and i-0 in this case0 he had not so strikin2l5 con-irmed at the end /hat he hints

at in the be2innin2) I re-er to the comin2 o- Birnam Wood to (nsinane) When each o-Malcolm's soldiers he/s do/n a branch and bears it be-ore him0 it is onl5 in a manner o-

speakin2 that the -orest moes) B(t it does moe in another and loelier sense) 3he le2end

Shakespeare makes (se o- is a m5th o- the comin2 o- sprin2) 3he le2end o- the moin2 -orest

ori2inated in the *erman reli2io(s c(stom o- Ma5>-estials0 or s(mmer /elcomin2s0 and ) ) )in2 *r(nen/ald is ori2inall5 a /inter 2iant /hose dominion ceases /hen the Ma5 -east be2ins

and the 2reen/ood dra/s near)

War is /inter) .eace is sprin2) Were eer s5mbols more ineitable than these0 especiall5 in thereli2ion and poetr5 o- northern peoples Winter is a 2iant) Sprin20 in comparison0 is a maiden)

Ho/ po/erless she seems in his presenceG B(t beca(se the s(n is on her side and moes in eer5

root and b(d she (ndermines the s/a5 o- the t5rant) She has 2reat allies) +nd so does peace in

this pla5) 3he Ald Man0 -or instance0 /ho talks /ith :oss o(tside the castle and bids him-are/ell in those esdemona>like /ords

*od's benison 2o /ith 5o(F and /ith those

3hat /o(ld make 2ood o- bad0 and -riends o- -oesF

the octor/ho sa5s at the si2ht o- ,ad5 Macbeth0


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More needs she the diine than the ph5sician) *od0 *od -or2ie (s allG

the Waitin2>*entle/oman /ho bids him0 *ood>ni2ht0 2ood doctorF little Macd(--F the pio(s

in2 %d/ard) 3hese0 and others0 pla5 no conspic(o(s part in the stor5) et perhaps Shakespeareis impl5in2 that it is onl5 b5 the collaboration o- tho(sands like them0 /hose contrib(tions sin2l5

ma5 seem as insi2ni-icant as sin2le 2rassblades do to sprin20 that /ar0 like /inter0 can beoercome)

Macbeth: + ,(st -or .o/er

$) &. #nights

Macbeth de-ines a partic(lar kind o- eilEthe eil that res(lts -rom a l(st -or po/er) 3he

de-inin20 as in all the tra2edies0 is in strictl5 poetic and dramatic terms) It is certainl5 not an

abstract -orm(lation0 b(t lies rather in the dra/in2 o(t o- necessar5 conse?(ences andimplications o- that l(st both in the e=ternal and the spirit(al /orlds) Its meanin20 there-ore0 is

reealed in the e=pansion and (n-oldin2 o- /hat lies /ithin the initial eil0 in terms o- directh(man e=perience) 3he lo2ic is not -ormal b(t e=periential0 and demands -rom (s0 i- /e are to

test its alidit5 and -eel its -orce0 a -(lness o- ima2inatie response and a closeness o- reali@ation0

in /hich both sensation and -eelin2 become modes o- (nderstandin2) Anl5 /hen intellect0emotion0 and a kind o- direct sensor5 a/areness /ork to2ether can /e enter -(ll5 into that

e=plorator5 and de-inin2 process)

In other /ords0 the essential str(ct(re o-Macbeth! as o- the other tra2edies0 is to be so(2ht in the

poetr5) 3hat o- co(rse is easil5 saidF /hat it means is somethin2 that can onl5 be 2rasped in

relation to speci-ic instances or not 2rasped at all) We ma5 take as an e=ample Macbeth's aside/hen he has been 2reeted as 3hane o- Ca/dor)

3his s(pernat(ral solicitin2

Cannot be illF cannot be 2oodE

I- ill0 /h5 hath it 2ien me earnest o- s(ccess0

Commencin2 in a tr(th I am 3hane o- Ca/dor

rom Some Sha"es(earean )hemes. 19"9 b5 ,) C) ni2hts) Stan-ord University .ress019"9)D

I- 2ood0 /h5 do I 5ield to that s(22estion

Whose horrid ima2e doth (n-i= m5 hair0


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+nd make m5 seated heart knock at m5 ribs0

+2ainst the (se o- nat(re .resent -ears

+re less than horrible ima2inin2s)

M5 tho(2ht0 /hose m(rder 5et is b(t -antastical0

Shakes so m5 sin2le state o- man0

3hat -(nction is smother'd in s(rmise0

+nd nothin2 is0 b(t /hat is not)

1)$)1$!>#D

3his is temptation0 presented /ith concrete -orce) %en i- /e attend onl5 to the reelation o-Macbeth's spirit(al state0 o(r reco2nition o- the bod5Ethe er5 -eelEo- the e=perience0 is a

response to the poetr50 to s(ch thin2s as the sickenin2 seesa/ rh5thm Cannot be illF cannot be2oodD chan2in2 to the rh5thm o- the po(ndin2 heart0 the oerridin2 o- 2rammar M5 tho(2ht0

/hose m(rder 5et is b(t -antasticalD as tho(2ht is reealed in the er5 process o- -ormation0 and

so on) B(t the poetr5 makes -(rther claims0 and i- /e attend to them /e -ind that the /ords donot onl5 point in/ard to the pres(med state o- Macbeth's mind b(t0 as it /ere0 o(t/ard to the

pla5 as a /hole) 3he e?(iocal nat(re o- temptation0 the commerce /ith phantoms conse?(ent

(pon -alse choice0 the res(ltin2 sense o- (nrealit5 nothin2 is0 b(t /hat is notD0 /hich has 5ets(ch po/er to smother ital -(nction0 the (nnat(ralness o- eil a2ainst the (se o- nat(reD0

and the relation bet/een disinte2ration in the indiid(al m5 sin2le state o- manD and disorder

in the lar2er social or2anismEall these are ma1!D

In none o- the tra2edies is there an5thin2 s(per-l(o(s0 b(t it is perhapsMacbeth that 2ies the

keenest impression o- econom5) 3he action moes directl5 and ?(ickl5 to the crisis0 and -rom thecrisis to the -(ll /orkin2 o(t o- plot and theme) 3he pattern is -ar easier to 2rasp than that o-

$ear. 3he main theme o- the reersal o- al(es is 2ien o(t simpl5 and clearl5 in the -irst scene

Eair is -o(l0 and -o(l is -airF and /ith it are associated premonitions o- the con-lict0 disorder


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and moral darkness into /hich Macbeth /ill pl(n2e himsel-) Well be-ore the end o- the -irst act

/e are in possession not onl5 o- the positie al(es a2ainst /hich the Macbeth eil /ill be

de-ined b(t o- the related aspects o- that eil0 /hich is sim(ltaneo(sl5 -elt as a strained and(nnat(ral perersion o- the /ill0 an ob-(scation o- the clear li2ht o- reason0 a principle o-

disorder both in the sin2le state o- man and in his /ider social relationsD0 and a p(rs(it o-

ill(sions) +ll these impressions0 /hich as the pla5 proceeds ass(me the stat(s o- or2ani@in2ideas0 are prod(ced b5 the interaction o- all the reso(rces o- poetic dramaEaction0 contrast0

statement0 implication0 ima2er5 and all(sion) 3h(s the sense o- the (nnat(ralness o- eil is

eoked not onl5 b5 repeated e=plicit re-erences nat(re's mischie-0 nat(re seems dead0 '3is(nnat(ral0 een like the deed that's done0 and so onD b(t b5 the e=pression o- (nnat(ral

sentiments and an (nnat(ral iolence o- tone in s(ch thin2s as ,ad5 Macbeth's inocation o- the

spirits /ho /ill (nse= her0 and her a--irmation that she /o(ld m(rder the babe at her breast i-

she had s/orn to do it) So too the theme o- the -alse appearances inseparable -rom eil0 o- deceitrecoilin2 on the deceier0 is not onl5 the s(bhono(r

amon2 his remainin2 -ollo/ers ")$)7D echoes ironicall5 his /i-e's adice to look like th'innocent -lo/er0 B(t be the serpent (nder't 1)");#>;"D and the h5pocritical pla5 o- the

/elcomin2 o- (ncanF and it is rein-orced b5Eor indeed one /ithEthe eoked sense o-

e?(iocation and easieness associated /ith the /itches0 and the clo(d o- (ncertaint5 thatsettles on Scotland d(rin2 Macbeth's despotism) It is -ittin2 that the -inal moement o- the

reersal that takes place in the last act sho(ld open /ith

the command o- Malcolm to the camo(-la2ed soldiers0 o(r lea5 screens thro/ do/n0 +nd

sho/ like those 5o( are ");)1>D)

II

3he ass(rance o-Macbeth has behind it0 is indeed based on0 a deepl5 ima2ined resol(tion o-perple=ities inherent in an5 -(ll e=pos(re to li-e) reedom -rom the t5rann5 o- time and ill(sion

is -inall5 related0 at the deepest leels o- conscio(sness0 to the central a--irmations o- the spiritF

and conersel50 the obsessed a/areness o- time /itho(t meanin20 like the s(b


34/133

nat(re in Shakespeare and his contemporaries0 there is still need -or -(rther clari-ication o- the

perceptions controllin2 the (se o- this el(sie0 indispensable and pre2nant /ord)

In Shakespeare's poetic tho(2ht /e -ind t/o apparentl5 contradictor5 int(itions re2ardin2 man'srelation to the created /orld e=istin2 independentl5 o- h(man choice and /ill) Nat(re and h(man

al(es are -elt as intimatel5 related0 and at the same time as anta2onistic)

3he5 are related in t/o /a5s) Shakespeare0 like almost all poets0 (ses nat(ral ima2er5 to eoke

and de-ine ?(alities that are h(manl5 al(able0 indeed indispensable to an5 -(ll h(manit5

She that hersel- /ill slier and disbranch rom her material sap0 per-orce m(st /ither +nd cometo deadl5 (se)

or his bo(nt50

3here /as no /inter in'tF an a(t(mn 't/as 3hat 2re/ the more b5 reapin2)

3hese arestrikin2 instances0 b(t in een apparentl5 cas(al metaphors and similesEm5 loe is

all as bo(ndless as the sea0 and she in thee Calls back the loel5 +pril o- her prime0 as dear

to me as are the r(dd5 drops that isit m5 sad heartEit seems that /e hae to do /ith arelationship more intimate than that o- mere resemblance the mind has in some sensefound

itself in nat(reF -or0 as ,eone 4iante sa5s o- Shakespeare's ima2es o- b(ddin2 and o- mornin20

the 2race o- thin2s in their birth and their -irst p(rit5 /o(ld not be perceied0 i- it /ere not first

a ?(alit5 o- o(r mental s5nthesis /hich is reealed in and thro(2h them) 3his is indeed a tr(tho- 2eneral applicationF Blake's 3i2er0 Herbert's lo/er0 Marell's *arden in the poems o- those

namesD0 and Words/orth's

(ncertain heaen0 receied 0

Into the bosom o- the stead5 lake0

4)he Prelude! ")$87>88D

all impl5 a basic kinship o- h(man and nonh(man li-e mind /o(ld be less tr(l5 itsel- i- it /ere

not deepl5 responsie to ima2es s(ch as these) 3he correspondences bet/een mind and nat(ral

-orms and nat(ral processes is attested b5 common speech as /ell as b5 the poets) 6(st as it is

/ith pec(liar 3i2htness that *eor2e Herbert can sa50 +nd no/ in a2e I b(d a2ain0 or thatMarell can speak o- a 2reen tho(2ht in a 2reen shade0 so ima2es o- b(ddin20 2ro/in20

harestin20 o- ni2ht0 da/n and da50 o- seasons and /eathers0 o- climates and landscapes0 are

inte2ral to the speech in /hich /e o(rseles -eel a-ter inner e=perience)

$a -ature est un tem(le o5 de vivants (iliers $aissent (arfois sortir de confuses (aroles6

$homme y (asse 7 travers des for8ts de symboles 9ui lobservent avec des regards familiers.


35/133

In Shakespeare there is no attempt to e=plain the /orkin2 o- these regards familiers6b(t the

mere -act that his pla5s and poems are -(ll o- these more>than>analo2ies implies that ps5chic li-e

is at home in nat(re)

B(t een i- /e leae aside the di--ic(lt ?(estion o- nat(ral s5mbolism0 there is no do(bt that

/hereer Shakespeare enisa2es a -(ll5 h(man /a5 o- li-e he thinks o- it as closel5 related to the/ider settin2 o- or2anic 2ro/th0 as indeed0 in a ?(ite concrete and practical /a50 directl5 based

on man's dealin2s /ith the earth that no(rishes

him) It is o- co(rse in )he inters )ale that /e are most e=plicitl5 a/are o- nat(re as a po/er-(l

controllin2 presenceEa presence moreoer not a2(el5 -elt b(t speci-icall5 rendered in the 2reatpastoral scene /ith its man5 reminders o- seasonal actiities0 h(mble in themseles b(t

transl(cent to the 2reat m5ths) B(t Shakespeare's ision o- the intimate relationship bet/een man

and nat(re0 o- nat(re as the necessar5 basis and0 (nder certain conditions0 the pattern -or

ciili@ation0 2oes back to the period be-ore the -inal pla5s and be-ore the tra2edies) It ise=pressed in the bea(ti-(l b(t stran2el5 ne2lected speech o- B(r2(nd50 in#ing Henry 3! /hen he

(r2es peace)

let it not dis2race me I- I demand be-ore this ro5al ie/0 Wh5 that the naked0 poor0 and man2led.eace0 ear n(rse o- arts0 plenties0 and


36/133

saa2e nat(re) B(t /hat /e hae to deal /ith is somethin2 more comple= than a simple

comparison /hich is then 2ien a2ain /ith the terms reersedF B(r2(nd5 is thro(2ho(t

e=pressin2 a sense o- the interrelationshipEa t/o>/a5 tra--icEbet/een man and nat(re) Nat(ral-ertilit5 o(r -ertile ranceD is the necessar5 precondition not onl5 o- li-e at the biolo2ical leel

b(t o- the hi2hest reaches o- manmade ciili@ationEthe arts and sciences both o- /hich can

be interpreted in the /idest senseDF /hilst at the same time0 since peace is the n(rse not onl5 o-these b(t o- all that comes to birth0 o- the er5 -ertilit5 on /hich the /hole ran2e o- h(man

actiit5 depends0 and since it is man /ho ma"espeace0 man is responsible -or nat(re) 3he

alternatie to peace is /ildness in both man and nat(re0 and -or man to tame that /ildness inhimsel- is a process analo2o(s to tamin2 /hat is 2ien in e=ternal nat(re) So m(ch is stated or

directl5 s(22ested /hat is not ?(ite e=plicit b(t ima2inatiel5 present0 addin2 li-e and ibranc5

to the -lat prose>meanin2 to /hich I hae red(ced the poetr50 is the ision o- peace) Conceied

thro(2ho(t as a /holesome activityE la5in2 hed2es0 plo(2hin20 and so on are taken asrepresentatie e=amplesEit is a state in /hich arts and sciences and dail5 bea(t5 and (tilit5 are

conceied both as end and as condition o- the -ertilit5 on /hich all alike depend) Behind the

ima2e o- li-e and nat(re r(n /ild -or lack o- h(man care is the implied ideal o- nat(ral -orce

tended and inte2rated into a tr(l5 h(man ciili@ation) +nd the incl(sie .eace0 teemin2 /ithh(man actiit50 is the nat(ral end o- the


37/133

We are led back once more to#ing $ear! to one scene in partic(lar /here /e -irst become

conscio(s o- a chan2e in direction o- the ima2inatie c(rrent o- the pla50 as tho(2h a sli2ht b(t

(nmistakable bree@e /ere anno(ncin2 that a tide0 still at the ebb0 is abo(t to t(rn) In the openin2scenes o- act # the /orst is still to comeF both *lo(cester and ,ear hae still to reach the lo/est

point o- their despair) B(t *lo(cester0 /e kno/0 is in the care o- %d2ar0 and in the -o(rth scene0

immediatel5 a-ter /e hae been told o- ,ear's p(r2atorial shame0 Cordelia enters0 /ith dr(mand colo(rs0 seekin2 her -ather)

Cordelia +lackG 'tis he /h50 he /as met een no/ +s mad as the e='d seaF sin2in2 alo(dF

Cro/n'd /ith rank -(miter and -(rro/>/eeds0 With hardocks0 hemlock0 nettles0 c(ckoo>-lo/ers0

arnel0 and all the idle /eeds that 2ro/

In o(r s(stainin2 corn) + cent(r5 sent -orthF Search eer5 acre in the hi2h>2ro/n -ield0 +nd brin2

him to o(r e5e) E;it an o--icer)K

What can man's /isdom In the restorin2 his bereaed sense He that helps him take all m5o(t/ard /orth)

doctor 3here is means0 madamF A(r -oster>n(rse o- nat(re is repose0 3he /hich he lacksF that to

prooke in him0 +re man5 simples operatie0 /hose po/er Will close the e5e o- an2(ish)

Cordelia +ll bless'd secrets0

+ll 5o( (np(blish'd irt(es o- the earth0 Sprin2 /ith m5 tearsG be aidant and remediate In the2ood man's distressG Seek0 seek -or him0 ,est his (n2oern'd ra2e dissole the li-e 3hat /ants the

means to lead it)

#)#)1>!D

What is remarkable here is the partic(lar ?(alit5 o- the a/areness o- nat(re that lies behind andin-orms the poetr5) ,ear's (n2oern'd ra2e is compared0 as be-ore0 to elemental -(r5 as mad

as the e='d seaD0 and his mock cro/n is -ittin2l5 made (p o- idle /eeds0 astonishin2l5 present

in the clo22ed moement o- the lines that list them) et co>present /ith theseEand 2ienemphasis b5 the li-t and smooth s/eep o- the erseEis o(r s(stainin2 cornF and the same earth

bears the medicinal plants that -oster restorin2 sleep balm o- h(rt minds0 2reat nat(re's second

co(rseD) Nat(re0 then0 is contemplated in both its aspects0 as that /hich preseres and as that

/hich impedes0 encroaches on or rises in t(rmoil a2ainst man's speci-icall5 h(man actiitiesF andit is contemplated /ith a pec(liar serenit5) It is o- co(rse contemplated -rom the standpoint o-

CordeliaF and her ?(alitiesEthose partic(larl5 that lie behind this serenit5Ehae been e=plicitl5

and bea(ti-(ll5 eoked in the immediatel5 precedin2 scene) 3he la/ o- her nat(re0 it is clear0 is?(ite other than the la/ o- nat(re to /hich *oneril and :e2an abandon themselesE

it seem'd she /as a ?(een Aer her passionF /ho0 most rebel>like0 So(2ht to be kin2 o'er her)


38/133

#)$)1#>1;D

et there is nothin2 ri2id in this sel->control) She is mo'd0 tho(2h not to a ra2eF and /e -eel it

-ittin2 that one so -ar remoed -rom all that is merel5 nat(ral sho(ld 5et attract to hersel- ima2esandassociations -rom the /orld o- nat(re0

patience and sorro/ stroe Who sho(ld e=press her 2oodliest) o( hae seen S(nshine and rainat onceF her smiles and tears Were like0 a better /a50

#)$)18>!D

$1DE sho(ld almost immediatel5 blend /ith those o- s(nshine

and rain at once) What /e are 2ien in the poetr5 is a s(re and sensitie poise0 and it is

Cordelia's inte2rit5Eher tenderness0 as /e hae seen0 at one /ith her stren2thEthat e=plains her-(ll and read5 responsieness) It is beca(se she is -(ll5 h(manEtho(2h there are also potent

s(22estions o- diine 2raceEthat she is nat(ral in a di--erent sense -rom that intended in%dm(nd's philosoph5) Her sense o- the bo(nt5 o- nat(re o- o(r s(stainin2 corn as /ell as o-

the rank -(miter and -(rro/>/eedsD lies behind her inocation0E

+ll bless'd secrets0 +ll 5o( (np(blish'd irt(es o- the earth0 Sprin2 /ith m5 tearsG be aidant and

remediate In the 2ood man's distressG

B(t it is beca(se o- her loe and pit5 the 2ood man is the errin2 ,earD that she can inoke so/hole>heartedl5 the (np(blish'd irt(es o- the earthEcan inoke them moreoer not simpl5 as

allies -rom a di--erent realm0 b(t /ith a s(22estion o- kinship and intimac5 that almost e?(atestheir /orkin2 /ith the po/er o- o(t2oin2 and healin2 li-e that lies deep in the so(l) It is in thissense that Cordelia redeems nat(re -rom the 2eneral c(rse Which t/ain hae bro(2ht her to

#)#)!7>8D)

It is this comple= resol(tion o- -eelin20 iss(in2 in ne/ insi2ht0 that lies behind the (se o- nat(re

inMacbeth. Since the insi2ht stems -rom a mode o- bein2 and is inseparable -rom it0 it cannot bes(mmed (p in a -orm(la) B(t in matters o- this kind simple -orm(lations hae their (ses0 i- onl5

as a /a5 o- ens(rin2 that necessar5 comple=it5 has not0 in the co(rse o- ar2(ment0 de2enerated

into

mereerbal complication0 or that mo(ntains are not bein2 made o(t o- molehills) Shakespeare0

then0 does not sa5 that nat(re0 ho/eer inscr(table0 is basicall5 bene-icentF he does not sa5 thatthere is in nat(re a core o- tenderness0 /hich lies een deeper than pride or cr(elt5) He sa5sE

tho(2h it takes the /hole o-#ing $ear to sa5 it ade?(atel5Ethat nat(re(er se is somethin2 ?(ite

other than h(man nat(re0 and that it cannot properl5 be conceied in h(man termsF that its

h(manl5 releant ?(alit5 onl5 e=ists in relation to a partic(lar h(man o(tlook and standpointF


39/133


40/133

$)#)7#>8D

3his is a more pro-o(nd ersion o- the ori2ins o- societ5 than is s(22ested b5 the notion o-

contract or e=pedienc5) What p(r2es the s(pposed mere m(ltit(de and makes it into a 2entlecommon/eal is a decree 2reater than an5 la/ in /hich it ma5 be embodied0 -or it is /hat is

dictated b5 the er5 -act o- bein2 h(manF i- 5o( accept 5o(r h(manit5 then 5o( can't m(rder /ithimp(nit5) Nor is this simpl5 a matter o- lier'd man 4#ing $ear! 1)#)$"1F #))"!D) B(t /hat thephrase also sa5s is that h(man kindness is nat(ral to man as man0 and0 like his mother's milk0

no(rishes his manhood) When Malcolm acc(ses himsel- o- ima2inar5 crimes0 and in so doin2

re-lects the eil that Macbeth has bro(2ht on Scotland0 the clima= is0

Na50 had I po/er0 I sho(ld .o(r the s/eet milk o- concord into Hell0 proar the (niersal peace0

con-o(nd +ll (nit5 in earth)

#)$)97>1!!D

Concord0 peace0 (nit5Ethese are active /ords0 si2ni-5in2 not a mere absence o-

disa2reeables0 a mere delierance -rom contin(al -ear0 and dan2er o- iolent death0 b(t thecondition o- positie h(man liin2) We learn little abo(t a pla5 b5 makin2 lists o- /ords0 b(t

it is a si2ni-icant -act thatMacbeth contains a er5 lar2e n(mber o- /ords e=pressin2 the aried

relations o- li-e not onl5 co(sin0 children0 serants0 2(est0 host0 b(t thanks0pa5ment0 serice0 lo5alt50 d(tiesD0 and that these sometimes0 as in act 1 scenes # and ;0

seem to be d/elt on /ith a special insistence) +t the end o- the pla50 /hen Macbeth thinks o-

/hat he has lost0 it is not hono(r0 /ealth and ease in /anin2 a2e 4$ucrece! 1) 1#D b(t

that /hich sho(ld accompan5 old a2e0 +s hono(r0 loe0 obedience0 troops o- -riends0

")$)#>"D

+n a/areness o- those hol5 cords /hich0 tho(2h the5 ma5 be seered0 are too intrinceEtoo

intimatel5 intert/inedEto (nloose 4#ing $ear! ))7">7;D0 is inte2ral to the ima2inatie

str(ct(re of Macbeth. 3hat the man /ho breaks the bonds that tie him to other men0 /ho po(rsthe s/eet milk o- concord into Hell0 is at the same time iolatin2 his o/n nat(re and th/artin2

his o/n deepest needs0 is somethin2 that the pla5 d/ells on /ith a special insistence)

No/ as /e hae seen in relation to#ing $ear it is onl5 /hen the essential needs andcharacteristics o- h(man nat(re are 2ien an absol(te0 (nconditional priorit50 that nat(re in its

/idest sense can be inoked as an order (nderl5in20 ini2oratin20 and in a certain sense o--erin2

a pattern -or0 h(man nat(re) So too inMacbeth. In Macbeth's apocal5ptic solilo?(5 be-ore the


41/133

m(rder0 the .it5 that dominates the chaotic nat(ral -orces and rides the /hirl/ind appears as a

ne/born babeEan o--sprin2 o- h(manit50 naked0 (lnerable0 and po/er-(l) It is0 /e ma5 sa50

beca(se o- the s5mbol o- the babe0 and all it stands -or0 that Shakespeare can inoke the po/erso- nat(re and associate them0 as .ro-essor Wilson ni2ht sho/s that he does0 /ith all that is

opposed to0 and -inall5 ictorio(s oer0 the po/ers o- destr(ction)

It is in the scene o- (ncan's entr5 into Macbeth's castle 1);)DE a per-ect contrast in

microcosm to the Macbeth eilEthat /e are most iidl5 a/are o- the ener2ies o- (nta(2htnat(re in si2ni-icant relation to the h(man order) 3he scene is set -or -(ll dramatic e--ect bet/een

,ad5 Macbeth's inocation o- the po/ers o- darkness 3he raen himsel- is hoarse0 that croaks

the -atal entranceD and Macbeth's -inal resol(tion0 and (ncan's co(rtes5 (nderlines the iron5)B(t the contrast is not con-ined to the sit(ation) 3he s(22estion o- a s/eet -resh air0 the pleased

contemplation o- the birds that b(ild and

breed0 a--ect (s -irst as sensor5 contrasts to the smotherin2 oppression Come0 thick Ni2htD sorecentl5 eokedF b(t like the ima2es o- darkness and disorder the presented scene is inseparable

-rom the al(es it embodies and de-ines)

3his 2(est o- s(mmer0 3he temple>ha(ntin2 martlet0 does approe0 B5 his lo'd mansionr50 thatthe heaen's breath Smells /ooin2l5 here no ha(ntin2

martlets to Macd(--'s babes0 his prett5 ones0 and incl(de all the scattered re-erences to man'snat(ral 2oodsEsleep and -ood and -ello/shipEthat /e take o(r bearin2s in the apprehension o-

eil)

I4

In the 2reat solilo?(5 o- 1)7) Macbeth tries to proide himsel- /ith pr(dential reasons -or not

committin2 m(rderE

B(t in these cases0 We still hae


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Besides0 this (ncan Hath borne his -ac(lties so meek0 hath been So clear in his 2reat o--ice0 thathis irt(es Will plead like an2els0 tr(mpet>ton2('d0 a2ainst 3he deep damnation o- his takin2>o--)

3hese lines hae o- co(rse behind them the traditional conception o- the a5 o- 6(d2ment0 and itis nothin2 less than the nat(re o- "#D0 /here l(stEa t5pe sin0 incl(din2

all -o(l harms 199DE/as de-ined as the (r2e to possess somethin2 that in the e=perienceineitabl5 proes mere loss0 an oerreachin2 into ins(bstantialit5 and ne2ation) InMacbeth the

posities so sec(rel5 establishedEthe ass(red intimation o- the thin2s /e Jsc0 tr(l5K areE

thro/ into relie-0 and so sharpl5 de-ine0 the de-ection that occ(pies the -ore-ront o- the pla5) It isthis that makes the pla5's iron5 so deepl5 si2ni-icantEthe iron5 o- makin2 somethin2 nothin2b5 a(2mentin2 it0 that is0 in Ban>?(o's phrase0 b5 seekin2 to a(2ment it )1)7DF and that

central iron5 o- losin2 in 2ainin2E-or Macbeth0 like 3ar?(in0 is + captie ictor that hath lost

in 2ain 4$ucrece! 7$!DElies behind all the o-ten noted dramatic ironies that m(ltipl5 as the pla5proceeds) ear and disorder er(pt into the specio(s sec(rit5 and apparent order that temporaril5

s(cceed the m(rder o- (ncan) 3hin2s bad be2(n attempt to make stron2 themseles b5 ill0

5et each -(rther step is as tedio(s Macbeth's /ordD and sel->-r(stratin2 as the last) +nd theconcomitant o- the o(ter disorder and inner disinte2ration /ith both o- /hich Macbeth identi-ies

himsel- in the 2reat inocation o-

chaos 111 #)1)D is somethin2 that appears to the obserer as the betra5al o- li-e to a(tomatism0

and /ithin Macbeth's o/n conscio(sness as a deepenin2 sense o- the loss o- si2ni-icance) It is a

radical -ail(re o- the h(man to inhabit his proper /orld o- creatie actiit5) + brie- e=amination

o- these t/o related aspects o- that -ail(re /ill concl(de o(r e=amination o- the pla5'sphilosoph5)


43/133

We to(ch -or the last time on the ?(estion o- nat(re) %arl5 in the pla5 /e are told o- the

merciless Macdon/ald that he is /orth5 to be a rebel0

-or to that 3he m(ltipl5in2 illainies o- nat(re o s/arm (pon him)

1))9>1D

No/ nat(re0 /e hae seen0 is a po/er that can be inoked in the serice o- /hat is essentiall5

ri2ht and /holesome on the sole condition that h(man kindness is reco2ni@ed as an absol(te)

Nat(re b5 itsel-0 ho/eer0 is clearl5 a s(bmoral /orld0 and to Ni2ht's black a2ents $))"$D in

the o(ter /orld correspond0 /ithin0

the c(rsed tho(2hts that nat(re *ies /a5 to in repose)

)1)8>9D

Man0 the inhabitant o- t/o /orlds0 is -ree to chooseF b(t i-0 disre2ardin2 the comp(nctio(sisitin2s o- Nat(re0 he chooses Nat(re's mischie- 1)")#"0 "!D0 his -reedom is impaired) He has

(ntied the /inds #)1)"D0 and the po/ers o- nat(re enter the h(man sphere as a(tonomo(sa2ents in the lan2(a2e o- the pla50 the illainies o- nat(re s/arm (pon him as a more or less

passie host) 3he e=planation o- this phrase th(s inoles (s in a consideration o- one o- the

main str(ct(ral lines o- the pla50 /here to the creatie ener25 o- 2oodEenlistin2 and controllin2nat(re's po/ersEis opposed the a(tomatism o- eil) 3o listen to the /itches0 it is s(22ested0 is

like eatin2 the insane root0 that takes the reason prisoner 1)$)8#>8"DF -or Macbeth0 in the

moment o- temptation0 -(nction0 or intellect(al actiit50 is smother'd in s(rmiseF andeer5/here the ima2er5 o- darkness s(22ests not onl5 the absence or /ithdra/al o- li2ht b(t

Eli2ht thickensEthe presence o- somethin2 positiel5 oppressie and impedin2) Both

Macbeth and his /i-e /il-(ll5 blind themseles Come0 thick Ni2ht0 Come0 seel>

in2 Ni2htD0 and to the e=tent that the5 s(rrender the characteristicall5 h(man po/er o-

intellect(al and moral discernment the5 themseles become the pre5 o- Ni2ht's black a2ents0

o- the po/ers the5 hae deliberatel5 inoked) +(tomatism is perhaps most obio(s in ,ad5Macbeth's sleep/alkin20 /ith its obsessed reliin2 o- the past0 b(t Macbeth also is sho/n as

-or-eitin2 his h(man -reedom and spontaneit5) I- one (ltimate aspect o- eil is reealed in Mac>

beth's inocation o- chaos0 in his determination to be ans/ered0

tho(2h the treas(re A- Nat(re's 2ermens t(mble all to2ether0 %en till destr(ction sicken0

another is s(22ested b5 the banal repetitions o- the /itches' incantations0 the almost mechanical

beat in /hich their charms are /o(nd (p) +nd


44/133

-ate0 as i- it /ere some e=ternal -orce or moral order0 compellin2 him a2ainst his /ill to certain

destr(ction) Most readers hae -elt that a-ter the initial crime there is somethin2 comp(lsie in

Macbeth's m(rdersF and at the end0 -or all his aliant -(r50 he is certainl5 not a -ree a2ent) He islike a bear tied to a stake0 he sa5sF b(t it is not onl5 the besie2in2 arm5 that hems him inF he is

imprisoned in the /orld he has made)

It is -rom /ithin that /orld that0 prompted b5 the ne/s o- his /i-e's s(icide0 he speaks his last

2reat speech)

She sho(ld hae died herea-ter

3here /o(ld hae been a time -or s(ch a /ord)EP

3o>morro/0 and to>morro/0 and to>morro/0

Creeps in this pett5 pace -rom da5 to da50

3o the last s5llable o- recorded timeF

+nd all o(r 5esterda5s hae li2hted -ools

3he /a5 to d(st5 death) A(t0 o(t0 brie- candleG

,i-e's b(t a /alkin2 shado/F a poor pla5er0

3hat str(ts and -rets his ho(r (pon the sta2e0

+nd then is heard no more it is a tale

3old b5 an idiot0 -(ll o- so(nd and -(r50 Si2ni-5in2 nothin2)

")")17>8D

His /i-e's death0 it has o-ten been obsered0 means nothin2 to him) Commentators hae been

e=ercised to determine the precise meanin2 o- the /ords /ith /hich he 2reets itEShe sho(ld

hae died herea-ter She /o(ld hae died sometime0 or0 Her death sho(ld hae been de-erred

to a more peaceable ho(rDF b(t the point o- the line lies in its ambi2(it5) Macbeth is 2ropin2 -ormeanin2s0 tr5in2 to conceie a time /hen he mi2ht hae met s(ch a sit(ation /ith somethin2

more than indi--erence0 /hen death itsel- mi2ht hae had a si2ni-icance it cannot hae in the/orld o- mere meanin2less repetition that he 2oes on to eoke) +s a -inal iron5 this is the /orld

/here /hen a thin2 is done it is merel5Ealms -or obliionEdone /ith0 beca(se it is a /orld

deoid o- si2ni-icant relations)


45/133

Clearl5 then /e hae in this pla5 an ans/er to Shakespeare's earlier ?(estionin2s abo(t time's

po/er0 as /e hae also a resol(tion o- his earlier preocc(pation /ith the po/er o- ill(sion and

-alse appearance) Macbeth has betrayed himself tothe e?(iocal and the ill(sor5) So too timeappears to him as meanin2less repetition beca(se he has t(rned his back on0 has indeed attempted

iolence on0 those al(es that alone 2ie si2ni-icance to d(ration0 that in a certain sense make

time0 -or /itho(t the meanin2 there is no time) He has directed his /ill to eil0 to/ardssomethin2 that o- its er5 nat(re makes -or chaos and the abne2ation o- meanin2) 3he solid

nat(ral 2oodsEran2in2 -rom -ood and sleep to the aried m(t(alities o- -riendship0 serice0 loe

Eare /itnesses to the central parado= o- eil0 that ho/eer terrible its po/er it can onl5 lead tonothin2)

In the lines0

it is a tale 3old b5 an idiot0 -(ll o- so(nd and -(r50 Si2ni-5in2 nothin20

there is combined the apparent -orceEthe so(nd and -(r5Eand the essential meanin2lessness)

or Macbeth0 no/0 tho(2h in a di--erent sense -rom /hen he (sed the phrase0 nothin2 is0 b(t/hat is not) B(t the pla5's last /ord is not0 o- co(rse0 abo(t eil)

What's more to do0 Which /o(ld be planted ne/l5 /ith the time0E

+s callin2 home o(r e=il'd -riends abroad0 3hat -led the snares o- /atch-(l t5rann5F .rod(cin2-orth the cr(el ministers A- this dead b(tcher0 and his -iend>like Q(een0 Who0 as 'tis tho(2ht0 b5

sel- and iolent hands 3ook o-- her li-eFEthis0 and /hat need-(l else 3hat calls (pon (s0 b5 the

2race o- *race0 We /ill per-orm in meas(re0 time0 and place)

It is a -ittin2 close -or a pla5 in /hich moral la/ has been made present to (s not as conentionor command b(t as the la/ o- li-e itsel-0 as that /hich makes -or li-e0 and thro(2h /hich alone

man can 2ro(nd himsel- on0 and there-ore in his meas(re kno/0 realit5)

3he 4oice in the S/ord

Maynard Mac"!


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(pon a scene that s(mmari@es clearl5 the main moral and ima2inatie iss(es and -oreshado/s

important deelopments to come)

3ho(2h onl5 one ban?(et is act(all5 sta2ed inMacbeth! the idea and ima2er5 o- ban?(etin2 arerichl5 deeloped0 as a n(mber o- critics hae obsered0 /ith the res(lt that this scene ass(mes a

si2ni-icance -ar s(rpassin2 its importance in the plot) 3he earlier 2atherin2 at (ncan's castle atorres 1)#D had concl(ded /ith a re-erence that associates the m(t(alit5 o- -eastin2 to the

m(t(alit5 inherent in an5 beni2n social order0 /here lo5alt5 and 2ratit(de hae the importanceand almost the palpabilit5 o- -ood)

rom#illing the #ing. 197$ b5 ak niersit5) ale niersit5 .ress0 197$)D

3r(c0 /orth5 Ban?(o he is -(ll so aliant0 +nd in his commendations I am -edF It is a ban?(et to

me)

1)#)"#>";D

Si2ni-icantl50 Macbeth's solilo?(5 debatin2 the m(rder o- (ncan 1)7)1>8D takes place in the

/ake o- a procession indicated in the -olio sta2e direction as =Enter! and (ass over the stage! aSewer! and divers Servants with dishes and service.= 3he contrast bet/een the 2re>2ario(sness o-

-eastin2 and the /ill-(l solit(de o- m(rdero(s tho(2hts is th(s (nderlined as Shakespeare -rames

Macbeth's solilo?(5 bet/een this procession and ,ad5 Macbeth's entr5 to sa50 He has almosts(pp'd) Wh5 hae 5o( le-t the chamber 1)7)9D) Similarl50 the massie retaliation o- cosmic

-orces a2ainst Macbeth a-ter he has killed his kin2 is -oreshado/ed immediatel5 a-ter the m(rder

in the -amo(s lines on sleep0 also seen in terms o- -eastin2)

Sleep0 that knits (p the raell'd sleae o- care0 3he death o- each da5's li-e0 sore labo(r's bath0Balm o- h(rt minds0 2reat Nat(re's second co(rse0 Chie- no(risher in li-e's -east)

))$;>$9D

rom the er5 -irst0 social ima2er5 o- ban?(etin2 is balanced a2ainst actions o- anarchic

indiid(alism) (ncan's lines abo(t bein2 no(rished in and b5 the commendations o- Macbeth-ollo/ immediatel5 on Macbeth's let that be0 & Which the e5e -ears0 /hen it is done0 to see

1)#)">"$D) 3he ban?(et at Inerness0 takin2 place o--sta2e0 as /e hae seen0 is balanced b5

Macbeth0 alone on sta2e and alienated0 considerin2 m(rder) ,ike/ise0 in the ban?(et scene

proper0 Macbeth is (nable to !D) 3he broken -east th(s becomes a iid metaphor o- the pla5's political action tothis point and at the same time prepares (s -or the anti-east o- the /itches /ith their hell>broth

in the ne=t act #)1)19D) %en this pererted ban?(et becomes somethin2 like a broken -east as

the /itches' 2r(el $D sinks in the ca(ldron at Macbeth's insistence on certain ans/ers)


47/133

What the *ardener inichard 00 does /ith his instr(ctions abo(t 2ardens that are also kin2doms

and /hat Hamlet does /ith his t/o

lockets or perhaps merel5 /ith a pair o- erbal portraitsD in his mother's bedroom occ(rsis(all5 inMacbeth /hen the M(rderer enters d(rin2 the -east) or here on sta2e be-ore (s is a

po/er-(l depiction o- the antithetical nat(res o- the pla5's t/o kin2s the -eastin2 -ello/ship o-the lords that looks back to (ncan and the m(rdero(s complicit5 o- Macbeth /ith the M(rderer)

3he *ardener inichard 00 has to deelop the ima2er5 /hich contrasts :ichard /ith the ideal

kin20 b(t inMacbeth the di--erence is presented /ordlessl5) We see s(ddenl5EcontraposedEthem(t(alit5 o- -eastin2 and an obsessie0 sel->centered appetite no -east can 2rati-5)

Macbeth /elcomes his 2(ests0 it has been o-ten noticed0 in the lan2(a2e o- an established order

o( kno/ 5o(r o/n de2rees $)#)1D) 3he con-idence that each man /ill kno/ his o/n de2ree

E testimon5 to an order that is d(rable and clearEis also testimon5 in this case to its -railt50

since none kno/s better than Macbeth ho/ easil5 de2ree can be and has been broken)nderlinin2 this note o- iron50 Macbeth 2reets the M(rderer not as he 2reeted his 2(ests0 /ith an

insistence on de2ree0 b(t /ith an intimation o- anarch5 i- the assassin has killed leance as /ellas Ban?(o0 he is the nonpareil 18D) 3he moement o- the scene is th(s -rom the re


48/133

Macbeth's isolation0 on the other hand0 is intense -rom the be2innin2) His pro2ress thro(2h the

rebel arm5 in act 1 is described as i- he /ere a lonel5 /oodsman c(ttin2 thro(2h (nder2ro/th

1))19D0 and /hen at last he sla5s Macdon/ald0 his tri(mph is seen in terms that rather oddl5call attention to ciilities (nind(l2ed

he -ae'd the slaeF hich neer shoo" hands! nor bade farewell to him! 3ill he (nseam'd him -romthe nae to th' chops)

1))!>F italics mineD

Immediatel5 (pon seein2 the /itches he retreats into an interior solit(de to /hich Ban?(oseeral times dra/s attention /ith phrases like ,ook0 ho/ o(r partner's rapt 1)$)1#$D) ,ater0 at

orres0 tho(2h he is amon2 man50 /e sense his act(al isolation both in his aside abo(t the stars

that m(st not be allo/ed to see his black and deep desires 1)#)"1D and in the 2rim iron5 o- hispled2e o- lo5alt5


49/133

B(t onl5 /ithin limits) 3his is their MacbethF it is not ?(ite o(rs) A(r Macbeth is hero as /ell as

illain0 and o(r response to him is m(ltiple) 3ho(2h it has been ar2(ed that /e cannot adopt

JMacbethK selectiel50 -eel oneness /ith some parts o- him and re";D

+s the ass(red tone and 2rim p(n on 2ilt s(22est0 she is (n/orried b5 the blood e=cept as it

ma5 be a /itness)

B(t as soon as she has le-t0 and the knockin2 o--sta2e has anno(nced0 as e Q(ince5 /as the-irst to see0 the emer2ence o- some sort o- nemesis -rom /ithin b(t also -rom be5ond the

temporal0 he looks at his hands (ncomprehendin2l5 What hands are here "8D and then0 in a

ne/ ke5 echoes her command)

Will all 2reat Nept(ne's ocean /ash this blood Clean -rom m5 hand No0 this m5 hand /illrather 3he m(ltit(dino(s seas incarnadine0 Makin2 the 2reen one red)

))"9>;D

+2ain her eas5 literalism is replaced /ith a /ildl5 ima2inatie apprehension o- a kind o- realit5

in /hich blood has moral and not simpl5 literal stat(s) 3hen this too is set aside b5 her con-identrepetition as she ret(rns -rom replacin2 the da22ers + little /ater clears (s o- this deed & Ho/

eas5 is it thenG ;;>;7D) We hae met /ith the /ashin2 ima2e be-ore) It occ(rs at cr(cial

moments in bothichard 00 andHamlet. Abio(sl50 -or Shakespeare it had the (s(al connections


50/133

/ith Christian p(ri-ication -rom sin0 b(t also a special connection /ith tra2ic insi2ht) Here0 in

Macbeth! it can hardl5 be coincidental that the onl5 time /e see ,ad5 Macbeth reeal an5

internal stress or strain in the sleep/alkin2 sceneD the /ashin2 reappearsEand in

Macbeth's sense o- it A(t0damned spotG o(t0 I sa5GEWhat0 /ill these hands ne'er be

cleanEHere's the smell o- the blood still all the per-(mes o- +rabia /ill not s/eeten thislittle hand ")1)$#>$"D) Macbeth's intense conscio(sness o- somethin2 that lies be5ond the pale

o- o(r normal +ristotelian cit5E/here0 as +(den sa5s Jin or the 3ime Bein2K0 %(clid's

2eometr5 & +nd Ne/ton's mechanics /o(ld acco(nt -or o(r e=per

william shakespeare's macbeth analysis

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