Introduction Not only is Macbeth by far the shortest of William Shakespeare’s great tragedies, but it is also anomalous in some structural respects. Like Othello (1604) and only a very few other Shakespearean plays, Macbeth is without the complications of a subplot. (Bradley, 1905) Consequently, the action moves forward in a swift and inexorable rush. More significantly, the climax the murder of Duncan takes place very early in the play. As a result, attention is focused on the various consequences of the crime rather than on the ambiguities or moral dilemmas that had preceded and occasioned it.
Overview In this, the play differs from Othello, where the hero commits murder only after long plotting, and from Hamlet (1600-1601), where the hero spends most of the play in moral indecision. It is more like King Lear (1605-1606), where destructive action flows from the central premise of the division of the kingdom. Yet Macbeth differs from that play, too, in that it does not raise the monumental, cosmic questions of good and evil in nature (Shakespeare, 1992). Instead it explores the moral and psychological effects of evil in the life of one man.
For all the power and prominence of Lady Macbeth, the drama remains essentially the story of the lord who commits regicide and thereby enmeshes himself in a complex web of consequences. When Macbeth first enters, he is far from the villain whose experiences the play subsequently describes. He has just returned from a glorious military success in defense of the crown. He is rewarded by the grateful Duncan, with preferment as thane of Cawdor. This honor, which initially qualifies him for the role of hero, ironically intensifies the horror of the murder Macbeth soon thereafter commits.
His fall is rapid, and his crime is more clearly a sin than is usually the case in tragedy. It is not mitigated by mixed motives or insufficient knowledge. Moreover, the sin is regicide, an action viewed by the Renaissance as exceptionally foul, since it struck at God’s representative on earth. The sin is so boldly offensive that many have tried to find extenuation in the impetus given Macbeth by the witches. However, the witches do not control behavior in the play. They are symbolic of evil and prescient of crimes which are to come, but they neither encourage nor facilitate Macbeth’s actions (Wills, 1994).
They are merely a poignant external symbol of the ambition that is already within Macbeth. Indeed, when he discusses the witches’ prophecy with Lady Macbeth, it is clear that the possibility has been discussed before. Nor can the responsibility be shifted to Lady Macbeth, despite her goading. In a way, she is merely acting out the role of the good wife, encouraging her husband to do what she believes to be in his best interests. She is a catalyst and supporter, but she does not make the grim decision, and Macbeth never tries to lay the blame on her (Wills, 1994).
When Macbeth proceeds on his bloody course, there is little extenuation in his brief failure of nerve. He is an ambitious man overpowered by his high aspirations, yet Shakespeare is able to elicit feelings of sympathy for him from the audience. Despite the evil of his actions, he does not arouse the distaste audiences reserve for such villains as Iago and Cornwall. This may be because Macbeth is not evil incarnate but a human being who has sinned. Moreover, audiences are as much affected by what Macbeth says about his actions as by the deeds themselves.
Both substance and setting emphasize the great evil, but Macbeth does not go about his foul business easily. He knows what he is doing, and his agonizing reflections show a man increasingly losing control over his own moral destiny. Although Lady Macbeth demonstrated greater courage and resolution at the time of the murder of Duncan, it is she who falls victim to the physical manifestations of remorse and literally dies of guilt. Macbeth, who starts more tentatively, becomes stronger, or perhaps more inured, as he faces the consequences of his initial crime.
The play examines the effects of evil on Macbeth’s character and on his subsequent moral behavior. The later murders flow naturally out of the first. Evil breeds evil because Macbeth, to protect himself and consolidate his position, is forced to murder again (Harbage, 1963). Successively, he kills Banquo, attempts to murder Fleance, and brutally exterminates Macduff’s family. As his crimes increase, Macbeth’s freedom seems to decrease, but his moral responsibility does not. His actions become more cold-blooded as his options disappear. Shakespeare does not allow Macbeth any moral excuses.
The dramatist is aware of the notion that any action performed makes it more likely that the person will perform other such actions. The operation of this phenomenon is apparent as Macbeth finds it increasingly easier to rise to the gruesome occasion. However, the dominant inclination never becomes a total determinant of behavior, so Macbeth does not have the excuse of loss of free will. It does however become ever more difficult to break the chain of events that are rushing him toward moral and physical destruction. As he degenerates, he becomes more deluded about his invulnerability and more emboldened.
What he gains in will and confidence is counterbalanced and eventually toppled by the iniquitous weight of the events he set in motion and felt he had to perpetuate. When he dies, he seems almost to be released from the imprisonment of his own evil. References Bradley, A. C. (1905). Shakespearean Tragedy. London: Macmillan. Harbage, Alfred. (1963). William Shakespeare: A Reader’s Guide. New York: Farrar, Straus & Giroux. Shakespeare, William. (1992). Macbeth. Alan Sinfield (ed. ). Houndsmills, England: Macmillan. Wills, Garry. (1994). Witches and Jesuits: Shakespeare’s “Macbeth. ” New York: Oxford University Press.