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Macbeth – A* / L9 Full Mark Example Essay

This is an A* / L9 full mark example essay on Macbeth completed by a 15-year-old student in timed conditions (50 mins writing, 10 mins planning).

It contained a few minor spelling and grammatical errors – but the quality of analysis overall was very high so this didn’t affect the grade. It is extremely good on form and structure, and perhaps could do with more language analysis of poetic and grammatical devices; as the quality of thought and interpretation is so high this again did not impede the overall mark. 

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MACBETH EXAMPLE ESSAY:

Macbeth’s ambition for status and power grows throughout the play. Shakespeare uses Macbeth as an embodiment of greed and asks the audience to question their own actions through the use of his wrongful deeds.

In the extract, Macbeth is demonstrated to possess some ambition but with overriding morals, when writing to his wife about the prophecies, Lady Macbeth uses metaphors to describe his kind hearted nature: “yet I do fear thy nature, / It is too full o’th’milk of human kindness”. Here, Shakespeare presents Macbeth as a more gentle natured being who is loyal to his king and country. However, the very act of writing the letter demonstrates his inklings of desire, and ambition to take the throne. Perhaps, Shakespeare is aiming to ask the audience about their own thoughts, and whether they would be willing to commit heinous deeds for power and control. 

Furthermore, the extract presents Macbeth’s indecisive tone when thinking of the murder – he doesn’t want to kill Duncan but knows it’s the only way to the throne. Lady Macbeth says she might need to interfere in order to persuade him; his ambition isn’t strong enough yet: “That I may pour my spirits in  thine ear / And chastise with the valour of my tongue”. Here, Shakespeare portrays Lady Macbeth as a manipulative character, conveying she will seduce him in order to “sway “ his mind into killing Duncan. The very need for her persuasion insinuates Macbeth is still weighing up the consequences in his head, his ambition equal with his morality. It would be shocking for the audience to see a female character act in this authoritative way. Lady Macbeth not only holds control of her husband in a patriarchal society but the stage too, speaking in iambic pentameter to portray her status: “To catch the nearest way. Thou wouldst be great”. It is interesting that Shakespeare uses Lady Macbeth in this way; she has more ambition for power than her husband at this part of play. 

As the play progresses, in Act 3, Macbeth’s ambition has grown and now kills with ease. He sends three murders to kill Banquo and his son, Fleance, as the witches predicted that he may have heirs to the throne which could end his reign. Macbeth is suspicious in this act, hiding his true intentions from his dearest companion and his wife: “I wish your horses swift and sure on foot” and “and make our faces vizards to our hearts”. There, we see, as an audience, Macbeth’s longing to remain King much stronger than his initial attitudes towards the throne He was toying with the idea of killing for the throne and now he is killing those that could interfere with his rule without a second thought. It is interesting that Shakespeare presents him this way, as though he is ignoring his morals or that they have been “numbed” by his ambition. Similarly to his wife in the first act, Macbeth also speaks in pentameter to illustrate his increase in power and dominance. 

In Act 4, his ambition and dependence on power has grown even more. When speaking with the witches about the three apparitions, he uses imperatives to portray his newly adopted controlling nature: “I conjure you” and “answer me”. Here, the use of his aggressive demanding demonstrates his reliance on the throne and his need for security. By the Witches showing him the apparitions and predicting his future, he gains a sense of superiority, believing he is safe and protected from everything. Shakespeare also lengthens Macbeth’s speech in front of the Witches in comparison to Act 1 to show his power and ambition has given him confidence, confidence to speak up to the “filthy nags” and expresses his desires. Although it would be easy to infer Macbeth’s greed and ambition has grown from his power-hungry nature, a more compassionate reading of Macbeth demonstrates the pressure he feels as a Jacobean man and soldier. Perhaps he feels he has to constantly strive for more to impress those around him or instead he may want to be king to feel more worthy and possibly less insecure. 

It would be unusual to see a Jacobean citizen approaching an “embodiment” of the supernatural as forming alliance with them was forbidden and frowned upon. Perhaps Shakespeare uses Macbeth to defy these stereotypical views to show that there is a supernatural, a more dark side in us all and it is up to our own decisions whereas we act on these impulses to do what is morally incorrect. 

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29/30 Macbeth Essay in ONLY 516 Words!

This is what the senior AQA examiner said about this essay:

This whole essay is exploratory.

The best Level 6 feature is that it always focuses on Shakespeare’s ideas.

The student also explains a whole range of methods to explore those ideas.

The student is very concise so every word counts.

And each sentence is focused on the question.

The answer shows a deep understanding of themes as well as Shakespeare’s other ideas.

The student cleverly realises that the extract comes from the end of the play, so it makes much more sense to follow Macbeth from the beginning to the end.

Using the plot to structure your answer is always a good idea.

The student chooses quotes very well to back up their argument.

To get full marks, the student needs to include more quotes or references to the play to back up their argument.

As I always say, starting with the extract is waaaay harder than working through the play chronologically.

AQA have lately come to realise this. They know that their question “starting with the extract” is unhelpful. But they won’t change it, as this will be to admit they were stupid to phrase it this way.

Regular readers will know that I keep testing Tilf.io to see how accurate and useful it is.

It is very accurate with the grade here. Check out the advice it gives, and then my own.

Essay on How Macbeth Changes as a Male Character (the 2023 Question)

( Tilf.io’s comments are in brackets).

Shakespeare presents Macbeth as a character and a male who changes significantly in the play. His character arc begins as a noble thane, reluctant to sin against his king, who then commits regicide before finally being overcome with guilt, and losing all hope. 

(This is a strong opening that clearly sets out Macbeth's character arc and foreshadows the discussion of his transformation throughout the play. Well done.)

As you know I recommend a three part thesis. This achieves that. But I also recommend your thesis explains Shakespeare’s ideas. This just focuses on Macbeth’s character, not on Shakespeare’s reasons for presenting him this way.

Shakespeare introduces him as an honourable warrior, using extreme violence to display his loyalty to King Duncan. We find out he defeats the rebel MacDonwald and “unseamed him from the nave to the chops”, which reveals Macbeth’s bloodlust. This also foreshadows the theme of violence which dominates the play. 

(You've effectively highlighted Macbeth's initial presentation as a loyal and violent warrior, and the quotation you've chosen is apt.

However, consider exploring how this initial violence relates to Macbeth's masculinity and the expectations of male characters in the context of the play.)

Yes, this is great feedback from Tilf.io.

Once the Witches tell Macbeth his fate, he hesitates. As a “kinsman and loyal subject” he refuses to commit regicide and embrace sin. However, Lady Macbeth scorns this morality, pushing Macbeth to murder Duncan. She tries to develop his ambition and asks rhetorically, “Was the hope drunk, wherein you dressed yourself?” The accusation of “drunk” tells Macbeth he is foolish for hesitating when he weighs up the “deed” of murder. She suggest Macbeth was merely “drunk” on the thought of becoming king, but is not willing to make the sacrifice necessary to become king. 

(You've captured the pivotal moment of Macbeth's hesitation and the influence of Lady Macbeth well.

To strengthen this paragraph, link back to the question by discussing how Macbeth's hesitation and subsequent actions reflect the changing expectations of his role as a male character in the play.)

Yes, again I like Tilf.io’s feedback. The idea of masculinity requiring action is reflected in his determination to kill Macduff’s family: “From this moment, the very firstlings of my heart shall be the firstlings of my hand.” (Act 4 Scene 1) 

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Sample student essay: Macbeth and the nature of evil

MACBETH SHOWS THAT NO ONE IS IMPERVIOUS TO THE EFFECTS OF EVIL

In  Macbeth Shakespeare focuses on the evil consequences of one man’s thrust for power. Through their prophecies, the witches plant an evil seed in Macbeth’s mind which has numerous repercussions, not only for Macbeth but for the King, his family and the people of Scotland.  Shakespeare shows that once his ambition has been inflamed, no one is immune from the consequences. Whilst both Macbeth and Lady Macbeth sacrifice their honour and pay a heavy price, many others are also killed to satisfy their thirst for power.

From the opening scene, it becomes clear that the witches are determine to use their supernatural powers to plant the seeds of evil and to undermine Macbeth’s honour. They create moral havoc by targeting his ambition. If the witches state that “fair is foul and foul is fair”, Macbeth soon finds that the prophecies “cannot be ill cannot be good”.  When the witches plant the seed that Macbeth is likely to become King, Macbeth is captivated by their prophecies. “I stood rapt in the wonder of it”. It is his ambition that promotes evil thoughts that undermine his sanity and corrupt him. As Shakespeare shows, Macbeth’s ambition creates “present fears” that are linked with “deep and dark desires” and that encourage him to put aside his moral compunctions.  After he commits the murders, he again seeks out the witches who give him a false sense of confidence. They predict that he will be safe from harm and Macbeth continues on his killing spree.

Lady Macbeth continues the corruption begun by the witches which has an immediate effect on Macbeth and a long-term corrosive effect on herself.  Shakespeare depicts the transformative power of evil as Lady Macbeth becomes “top – full of Direst Cruelty” in order to encourage Macbeth to murder King Duncan. She manipulates him, criticises his manhood and suggests that he is cowardly. She states that she would have plucked a baby from her breast and “dash’d the brains out” had she so broken a promise as Macbeth seems to be doing. Whilst she intimidates Macbeth and convinces him that it is cowardly to thwart one’s desires, she, ironically, pays the heaviest price. Her belief that a “little water clears us of this deed” returns to haunt her as she becomes increasingly obsessed with the evil she has unleashed. She is unable to remove neither the stain nor the deaths. She is also dismayed at the tyrant that continues unabated.

Owing to both the influence of the witches and Lady Macbeth, Macbeth succumbs to evil and pays a heavy price. Foolishly, he sets aside his scepticism and renounces his honour as he contemplates the ‘deep and dark desires”. His conscience alerts him to the evil nature of murder; he is fully aware of the “even – handed justice” or “judgement” which instructs people about good and evil. He also knows that “Bloody instructions return to plague the inventor”.  Most importantly, Macbeth knows that he should not commit evil deeds, because his conscience will torment him and undermine his honour. Despite all this, Macbeth wields the dagger and King Duncan becomes his first victim. He suffers the shocking consequences of Macbeth’s “overleaping” ambition that causes a  “heat-oppressed brain” to turn towards evil.

Macbeth continues to pay a heavy price and does not enjoy his royal status. Owing to his conscience, Macbeth becomes paranoid and guilt gives way to hallucinations and “strange self-abuse”. Macbeth becomes suspicious of everyone. He tries to harden himself to the pangs of his conscience. He wants to fight fear and become fearless by killing more people. He states, “t’is the initiate Fear that wants hard Use”. Macbeth has become a cruel tyrant and transforms Scotland into a country “almost afraid to know itself”. He sets spies on each of his thanes and even distrusts the witches for he is determined to make ‘assurance double sure’ by slaughtering Macduff’s entire family. This propels him  to the final showdown.

So the evil effects spread throughout Scotland, and even Banquo suffers from the cruel effects of evil. Banquo is honourable and rightly dismisses the witches even though they predict that his sons will be king. Because of this secret knowledge, Banquo becomes Macbeth’s second victim. Macbeth feels that “under him my genius is rebuked”. He is killed while his son Fleance escapes.

Tragically, many lives are lost because of one couple’s ambition. They both sacrifice their honour and do not enjoy their status because they become paranoid about the consequences. Once Lady Macbeth encourages Macbeth to commit murder, there is no stopping him. To soften his conscience, he continues killing and changes the whole atmosphere of Scotland. No one escapes. The citizens are so sick of the tyrant that they are relieved by his death.  Shakespeare shows that one man’s evil thirst for power does not pay and many other suffer a heavy price.

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Macbeth Essays

Serpentine imagery in shakespeare's macbeth sarah downey.

The snake has long been used as a symbol of sly subtlety. A serpent's presence has been characterized by cunning cynicism dating as far back as biblical times, when the snake persuaded Eve to eat the forbidden fruit of Eden's garden. Even the...

Macbeth's Evolution David Sauvage

In Shakespeare's Macbeth, Macbeth undergoes a profound and gradual evolution throughout the play. He regresses from a logical, compassionate, caring, and conscientious man, to an entirely apathetic, amoral paradigm of cynical numbness. Macbeth's...

Jumping the Life to Come Alex Hoffer

A central theme of William Shakespeare's Macbeth is the title character's willingness to accept his fate. Macbeth's attitude toward the prophecies of the witches varies depending on how much he likes the prediction. At first, he follows along with...

Deceptive Appearances in Macbeth Sonia Jain

There is truth to Duncan's line "There's no art to find the mind's construction in the face," for throughout Shakespeare's play Macbeth, both Macbeth and Lady Macbeth are not what they most often appear to be. Even Macbeth does not know the extent...

Unity in Shakespeare's Tragedies Chris Hadfield

Separating qualities common to one 'set' or 'type' of Shakespeare's plays which are not common to the plays as a whole is a difficult task: it would no doubt be possible to find evidence of any feature uniting 'the Tragedies' within any of...

Inevitability and the Nature of Shakespeare's Tragedies Chris Hadfield

In Greek tragedy, inevitability plays an important role, portraying the protagonists as pawns of the fates, whose roles in the tragedy are distributed arbitrarily and without justice. The outcomes of these roles are decided before the play even...

Sleep and Nature Shira Traison

In Shakespeare's, Macbeth, there seems to be an uncanny connection between the images of sleep and nature. The play refers to the results of nature being thwarted, and since sleep is the primarily natural function of every human being, its seems...

The Elizabethan Chain of Being in Shakespeare's Macbeth Julianna Castaneda

The collective minds of people in England during the time of Shakespeare struggled to explain the unexplainable; they struggled to understand randomness and human nature. They believed that from the beginning of time a certain cosmic order had...

Gender Transition in Macbeth Anonymous

Come you spirit,

That tend on mortal thoughts, unsex me here.

--Lady Macbeth

More so than any other Shakespearean play, Macbeth functions the most vividly as a psychoanalysis of the state of humanity's development of a sense of sexual self. Now, in a...

The Appearance of Fairness Michael Wainwright

Starting with the witches' assertion that âfair is foul, and foul is fair,â? it is clear that Macbeth is a play in which appearances will be deceiving and morality will be muddled. From the dialogue between King Duncan, Malcolm, and the wounded...

Macbeth's Moral Quandary Michael Wainwright

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Time plays a crucial role in Shakespeare's tragedy Macbeth. Like all Shakespearian tragedies, the main character is necessarily at odds with time. By its very nature, a tragedy must end with the death of the hero. The hero, therefore, must bide...

Re-Creation and Immortal Fame: The Search for Eternal Life in Macbeth and Coriolanus Christina Gulas

In Shakespeare's time, having children was, arguably, even more important than it is today. In a society dominated by rules of inheritance and birthright, children were important, not only as the means of carrying on a name and genetic material,...

Ambiguity Leads the Way Jean-Francois Carrier

Dramatic tragedies are by definition plays that enact the struggle and downfall of their main character or characters. "The Tragedy of Macbeth", by William Shakespeare, is a perfect example of this; the entire play portrays the fatalistic...

Unholy Mothers: Mothers as Negative Characters in Richard III, Cymbeline, Hamlet, Macbeth and The Tempest Barret Buchholz

Unholy Mothers: Mothers as Negative Characters in Richard III, Cymbeline, Hamlet, Macbeth and The Tempest

by, Barret Buchholz

April 15, 2005

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Responsibility for Tragedy in Othello and Macbeth Anonymous

The tragedy in both Othello and Macbeth is found not so much in the scattering of bodies covering the stage at the end of each play, but instead in the degeneration of the plays' respective protagonists. Men championed by Shakespeare at the...

Character Juxtaposition: The Twoness of Macbeth Anonymous

Character Juxtaposition: The Twoness of Macbeth

Shakespeare's Macbeth relays the tale of a Scottish general, at first presenting a seemingly brave and noble warrior. Macbeth is eventually prompted by ambition to seek the throne upon hearing a...

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Hamlet and Macbeth are two of William Shakespeare's most famous plays. Each share not only fame, however, but format: Both feature main characters with tragic flaws that become their demise. In the cases of Hamlet and Macbeth, this flaw is...

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Shakespeare's Macbeth is a male dominated play. Most of the noticeable characters in Macbeth are male, including Macbeth, Macduff, Banquo, King Duncan, and Malcolm. Despite the lack of female power by numbers, Lady Macbeth proves to be a...

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In the play Macbeth, some of the most significant characters rely upon their ability to equivocate, in order to hide their treacherously covetous, or purely malicious intentions. Most characters take part in these acts of subterfuge, but the three...

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The bulk of the drama in William Shakespeare’s Macbeth is based in murder. Throughout the play, much of the dialogue and action have to do with plotting a homicide, carrying out the terrible deed, or being haunted by the guilt of taking another...

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‘Macbeth’ by William Shakespeare is a play in which great contrasts lie between its main characters. ‘Macbeth’ is a tragic play, set in eleventh century Scotland, which explores the psychological and political effects of the eponymous character,...

Regicide in Macbeth Anonymous 12th Grade

In 'Macbeth,' the eponymous character fulfils his own overwhelming thirst for power by committing what was viewed to be worst possible crime: regicide. This initial murder of King Duncan acts as a starting point for Macbeth's reign of terror, and...

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Student Prompt: Write a short (1-3 paragraph) response using one of the bulleted outlines below. Cite details from the text over the course of your response that serve as examples and support.

1. Dynamic characters change over the course of a story.

• How does Lady Macbeth change over the course of the play? ( topic sentence )
• Discuss 3 scenes that show Lady Macbeth changing from the beginning of the play to the end. Include details and quotes to document the changes, and explain how they reveal her shifts.
• In your conclusion, explain why the changes in Lady Macbeth are significant to the story as a whole.

2. Though sometimes people think violence is the answer to a problem, it almost always leads to more violence.

• How does violence cause more violence in Macbeth ? ( topic sentence )
• Explain 3 scenes that illustrate violence causing violence. Use evidence and reasoning to support your analysis.

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A Modern Perspective: Macbeth

By Susan Snyder

Coleridge pronounced Macbeth to be “wholly tragic.” Rejecting the drunken Porter of Act 2, scene 3 as “an interpolation of the actors,” and perceiving no wordplay in the rest of the text (he was wrong on both counts), he declared that the play had no comic admixture at all. More acutely, though still in support of this sense of the play as unadulterated tragedy, he noted the absence in Macbeth of a process characteristic of other Shakespearean tragedies, the “reasonings of equivocal morality.” 1

Indeed, as Macbeth ponders his decisive tragic act of killing the king, he is not deceived about its moral nature. To kill anyone to whom he is tied by obligations of social and political loyalty as well as kinship is, he knows, deeply wrong:

         He’s here in double trust:

First, as I am his kinsman and his subject,

Strong both against the deed; then, as his host,

Who should against his murderer shut the door,

Not bear the knife myself.                  ( 1.7.12 –16)

And to kill Duncan, who has been “so clear in his great office” (that is, so free from corruption as a ruler), is to compound the iniquity. In adapting the story of Macbeth from Holinshed’s Chronicles of Scotland, Shakespeare created a stark black-white moral opposition by omitting from his story Duncan’s weakness as a monarch while retaining his gentle, virtuous nature. Unlike his prototype in Holinshed’s history, Macbeth kills not an ineffective leader but a saint whose benevolent presence blesses Scotland. In the same vein of polarized morality, Shakespeare departs from the Holinshed account in which Macbeth is joined in regicide by Banquo and others; instead, he has Macbeth act alone against Duncan. While it might be good politics to distance Banquo from guilt (he was an ancestor of James I, the current king of England and patron of Shakespeare’s acting company), excluding the other thanes as well suggests that the playwright had decided to focus on private, purely moral issues uncomplicated by the gray shades of political expediency.

Duncan has done nothing, then, to deserve violent death. Unlike such tragic heroes as Brutus and Othello, who are enmeshed in “equivocal morality,” Macbeth cannot justify his actions by the perceived misdeeds of his victim. “I have no spur,” he admits, “To prick the sides of my intent, but only / Vaulting ambition” ( 1.7.25 –27). This ambition is portrayed indirectly rather than directly. But it is surely no accident that the Weïrd Sisters accost him and crystallize his secret thoughts of the crown into objective possibility just when he has hit new heights of success captaining Duncan’s armies and defeating Duncan’s enemies. The element of displacement and substitution here—Macbeth leading the fight for Scotland while the titular leader waits behind the lines for the outcome—reinforces our sense that, whatever mysterious timetable the Sisters work by, this is the psychologically right moment to confront Macbeth with their predictions of greatness. Hailed as thane of Glamis, thane of Cawdor, and king, he is initially curious and disbelieving. Though his first fearful reaction ( 1.3.54 ) is left unexplained, for us to fill in as we will, surely one way to read his fear is that the word “king” touches a buried nerve of desire. When Ross and Angus immediately arrive to announce that Macbeth is now Cawdor as well as Glamis, the balance of skepticism tilts precipitously toward belief. The nerve vibrates intensely. Two-thirds of the prophecy is already accomplished. The remaining prediction, “king hereafter,” is suddenly isolated and highlighted; and because of the Sisters’ now proven powers of foreknowledge, it seems to call out for its parallel, inevitable fulfillment.

The Weïrd Sisters present nouns rather than verbs. They put titles on Macbeth without telling what actions he must carry out to attain those titles. It is Lady Macbeth who supplies the verbs. Understanding that her husband is torn between the now-articulated object of desire and the fearful deed that must achieve it (“wouldst not play false / And yet wouldst wrongly win,” 1.5.22 –23), she persuades him by harping relentlessly on manly action. That very gap between noun and verb, the desired prize and the doing necessary to win it, becomes a way of taunting him as a coward: “Art thou afeard / To be the same in thine own act and valor / As thou art in desire?” ( 1.7.43 –45). A man is one who closes this gap by strong action, by taking what he wants; whatever inhibits that action is unmanly fear. And a man is one who does what he has sworn to do, no matter what. We never see Macbeth vow to kill Duncan, but in Lady Macbeth’s mind just his broaching the subject has become a commitment. With graphic horror she fantasizes how she would tear her nursing baby from her breast and dash its brains out if she had sworn as she says her husband did. She would, that is, violate her deepest nature as a woman and sever violently the closest tie of kinship and dependence. Till now, Macbeth has resisted such violation, clinging to a more humane definition of “man” that accepts fidelity and obligation as necessary limits on his prowess. Now, in danger of being bested by his wife in this contest of fierce determinations, he accepts her simpler, more primitive equation of manhood with killing: he commits himself to destroying Duncan. It is significant for the lack of “equivocal morality” that even Lady Macbeth in this crucial scene of persuasion doesn’t try to manipulate or blur the polarized moral scheme. Adopting instead a warrior ethic apart from social morality, she presents the murder not as good but as heroic.

Moral clarity informs not only the decisions and actions of Macbeth but the stage of nature on which they are played out. The natural universe revealed in the play is essentially attuned to the good, so that it reacts to the unambiguously evil act of killing Duncan with disruptions that are equally easy to read. There are wild winds, an earthquake, “strange screams of death” ( 2.3.61 –69). And beyond such general upheaval there is a series of unnatural acts that distortedly mirror Macbeth’s. Duncan’s horses overthrow natural order and devour each other, like Macbeth turning on his king and cousin. “A falcon, tow’ring in her pride of place”—the monarch of birds at its highest pitch—is killed by a mousing owl, a lesser bird who ordinarily preys on insignificant creatures ( 2.4.15 –16). Most ominous of all, on the morning following the king’s death, is the absence of the sun: like the falcon a symbol of monarchy, but expanding that to suggest the source of all life. In a general sense, the sunless day shows the heavens “troubled with man’s act” ( 2.4.7 ), but the following grim metaphor points to a closer and more sinister connection: “dark night strangles the traveling lamp” ( 2.4.9 ). The daylight has been murdered like Duncan. Scotland’s moral darkness lasts till the end of Macbeth’s reign. The major scenes take place at night or in the atmosphere of the “black, and midnight hags” ( 4.1.48 ), and there is no mention of light or sunshine except in England ( 4.3.1 ).

Later in the play, nature finds equally fitting forms for its revenge against Macbeth. Despite his violations of the natural order, he nevertheless expects the laws of nature to work for him in the usual way. But the next victim, Banquo, though his murderer has left him “safe in a ditch” ( 3.4.28 ), refuses to stay safely still and out of sight. In Macbeth’s horrified response to this restless corpse, we may hear not only panic but outrage at the breakdown of the laws of motion:

                           The time has been

That, when the brains were out, the man would die,

And there an end. But now they rise again

With twenty mortal murders on their crowns

And push us from our stools. This is more strange

Than such a murder is.                           ( 3.4.94 –99)

His word choice is odd: “ they rise,” a plural where we would expect “he rises,” and the loaded word “crowns” for heads. Macbeth seems to be haunted by his last victim, King Duncan, as well as the present one. And by his outraged comparison at the end—the violent death and the ghostly appearance compete in strangeness—Macbeth suggests, without consciously intending to, that Banquo’s walking in death answers to, or even is caused by, the murder that cut him off so prematurely. The unnatural murder generates unnatural movement in the dead. Lady Macbeth, too, walks when she should be immobile in sleep, “a great perturbation in nature” ( 5.1.10 ).

It is through this same ironic trust in natural law that Macbeth draws strength from the Sisters’ later prophecy: if he is safe until Birnam Wood come to Dunsinane, he must be safe forever:

Who can impress the forest, bid the tree

Unfix his earthbound root? Sweet bodements, good!

Rebellious dead, rise never till the Wood

Of Birnam rise . . .                  ( 4.1.109 –12)

His security is ironic because for Macbeth, of all people, there can be no dependence on predictable natural processes. The “rebellious dead” have already unnaturally risen once; fixed trees can move against him as well. And so, in time, they do. Outraged nature keeps matching the Macbeths’ transgressions, undoing and expelling their perversities with its own.

In tragedies where right and wrong are rendered problematic, the dramatic focus is likely to be on the complications of choice. Macbeth, on the contrary, is preoccupied less with the protagonist’s initial choice of a relatively unambiguous wrong action than with the moral decline that follows. H. B. Charlton noted that one could see in Richard III as well as Macbeth the biblical axiom that “the wages of sin is death”; but where the history play assumes the principle, Macbeth demonstrates why it has to be that way. 2 The necessity is not so much theological as psychological: we watch in Macbeth the hardening and distortion that follows on self-violation. The need to suppress part of himself in order to kill Duncan becomes a refusal to acknowledge his deed (“I am afraid to think what I have done. / Look on ’t again I dare not”: 2.2.66 –67). His later murders are all done by proxy, in an attempt to create still more distance between the destruction he wills and full psychic awareness of his responsibility. At the same time, murder becomes a necessary activity, the verb now a compulsion almost without regard to the object: plotted after he has seen the Weïrd Sisters’ apparitions, Macbeth’s attack on Macduff’s “line” ( 4.1.174 ) is an insane double displacement, of fear of Macduff himself and fury at the vision of the line of kings fathered by Banquo.

Yet the moral universe of Macbeth is not as uncomplicated as some critics have imagined. To see in the play’s human and physical nature only a straightforward pattern of sin and punishment is to gloss over the questions it raises obliquely, the moral complexities and mysteries it opens up. The Weïrd Sisters, for example, remain undefined. Where do they come from? Where do they go when they disappear from the action in Act 4? What is their place in a moral universe that ostensibly recoils against sin and punishes it? Are they human witches, or supernatural beings? Labeling them “evil” seems not so much incorrect as inadequate. Do they cause men to commit crimes, or do they only present the possibility to them? Macbeth responds to his prophecy by killing his king, but Banquo after hearing the one directed at him is not impelled to act at all. Do we take this difference as demonstrating that the Sisters have in themselves no power beyond suggestion? Or should we rather find it somewhat sinister later on when Banquo, ancestor of James I or not, sees reason in Macbeth’s success to look forward to his own—yet feels it necessary to conceal his hopes ( 3.1.1 –10)?

Even what we most take for granted becomes problematic when scrutinized. Does Macbeth really desire to be king? Lady Macbeth says he does, but what comes through in 1.5 and 1.7 is more her desire than his. Apart from one brief reference to ambition when he is ruling out other motives to kill Duncan, Macbeth himself is strangely silent about any longing for royal power and position. Instead of an obsession that fills his personal horizon, we find in Macbeth something of a motivational void. Why does he feel obligated, or compelled, to bring about an advance in station that the prophecy seems to render inevitable anyway? A. C. Bradley put his finger on this absence of positive desire when he observed that Macbeth commits his crime as if it were “an appalling duty.” 3

Recent lines of critical inquiry also call old certainties into question. Duncan’s saintly status would seem assured, yet sociological critics are disquieted by the way we are introduced to him, as he receives news of the battle in 1.2. On the one hand we hear reports of horrifying savagery in the fighting, savagery in which the loyal thanes participate as much as the rebels and invaders—more so, in fact, when Macbeth and Banquo are likened to the crucifiers of Christ (“or memorize another Golgotha,” 1.2.44 ). In response we see Duncan exulting not only in the victory but in the bloodshed, equating honor with wounds. It is not that he bears any particular guilt. Yet the mild paternal king is nevertheless implicated here in his society’s violent warrior ethic, its predicating of manly worth on prowess in killing. 4 But isn’t this just what we condemn in Lady Macbeth? Cultural analysis tends to blur the sharp demarcations, even between two such figures apparently totally opposed, and to draw them together as participants in and products of the same constellation of social values.

Lady Macbeth and Duncan meet in a more particular way, positioned as they are on the same side of Scotland’s basic division between warriors and those protected by warriors. The king is too old and fragile to fight; the lady is neither, but she is barred from battle by traditional gender conventions that assign her instead the functions of following her husband’s commands and nurturing her young. In fact, of course, Lady Macbeth’s actions and outlook thoroughly subvert this ideology, as she forcefully takes the lead in planning the murder and shames her husband into joining in by her willingness to slaughter her own nurseling. It is easy to call Lady Macbeth “evil,” but the label tends to close down analysis exactly where we ought to probe more deeply. Macbeth’s wife is restless in a social role that in spite of her formidable courage and energy offers no chance of independent action and heroic achievement. It is almost inevitable that she turn to achievement at second hand, through and for her husband. Standing perforce on the sidelines, like Duncan once again, she promotes and cheers the killing.

Other situations, too, may be more complex than at first they seem. Lady Macduff, unlike Lady Macbeth, accepts her womanly function of caring for her children and her nonwarrior status of being protected. But she is not protected. The ideology of gender seems just as destructive from the submissive side as from the rebellious, when Macduff deserts her in order to pursue his political cause against Macbeth in England and there is no husband to stand in the way of the murderers sent by Macbeth. The obedient wife dies, with her cherished son, just as the rebellious, murderous lady will die who consigned her own nursing baby to death. The moral universe of Macbeth has room for massive injustice. Traditional critics find Lady Macbeth “unnatural,” and even those who do not accept the equation of gender ideology with nature can agree with the condemnation in view of her determined suppression of all bonds of human sympathy. Clear enough. But we get more blurring and crossovers when Macduff’s wife calls him unnatural. In leaving his family defenseless in Macbeth’s dangerous Scotland, he too seems to discount human bonds. His own wife complains bitterly that “he wants the natural touch”; where even the tiny wren will fight for her young against the owl, his flight seems to signify fear rather than natural love ( 4.2.8 –16). Ross’s reply, “cruel are the times,” while it doesn’t console Lady Macduff and certainly doesn’t save her, strives to relocate the moral ambiguity of Macduff’s conduct in the situation created by Macbeth’s tyrannical rule. The very political crisis that pulls Macduff away from his family on public business puts his private life in jeopardy through the same act of desertion. But while acknowledging the peculiar tensions raised by a tyrant-king, we may also see in the Macduff family’s disaster a tragic version of a more familiar conflict: the contest between public and private commitments that can rack conventional marriages, with the wife confined to a private role while the husband is supposed to balance obligations in both spheres.

Malcolm is allied with Duncan by lineage and with Macduff by their shared role of redemptive champion in the final movement of the play. He, too, is not allowed to travel through the action unsullied. After a long absence from the scene following the murder of Duncan, he reappears in England to be sought by Macduff in the crusade against Macbeth. Malcolm is cautious and reserved, and when he does start speaking more freely, what we hear is an astonishing catalogue of self-accusations. He calls himself lustful, avaricious, guilty of every crime and totally lacking in kingly virtues:

                Nay, had I power, I should

Pour the sweet milk of concord into hell,

Uproar the universal peace, confound

All unity on earth.                  ( 4.3.113 –16)

Before people became so familiar with Shakespeare’s play, I suspect many audiences believed what Malcolm says of himself. Students on first reading still do. Why shouldn’t they? He has been absent from the stage for some time, and his only significant action in the early part of the play was to run away after his father’s murder. When this essentially unknown prince lists his vices in lengthy speeches of self-loathing, there is no indication—except an exaggeration easily ascribable to his youth—that he is not sincere. And if we do believe, we cannot help joining in Macduff’s distress. Malcolm, the last hope for redeeming Scotland from the tyrant, has let us down. Duncan’s son is more corrupt than Macbeth. He even sounds like Macbeth, whose own milk of human kindness ( 1.5.17 ) was curdled by his wife; who threatened to destroy the whole natural order, “though the treasure / Of nature’s germens tumble all together / Even till destruction sicken” ( 4.1.60 –63). In due course, Malcolm takes it all back; but his words once spoken cannot simply be canceled, erased as if they were on paper. We have already, on hearing them, mentally and emotionally processed the false “facts,” absorbed them experientially. Perhaps they continue to color indirectly our sense of the next king of Scotland.

Viewed through various lenses, then, the black and white of Macbeth may fade toward shades of gray. The play is an open system, offering some fixed markers with which to take one’s basic bearings but also, in closer scrutiny, offering provocative questions and moral ambiguities.

• “Notes for a Lecture on Macbeth ” [c. 1813], in Coleridge’s Writings on Shakespeare , ed. Terence Hawkes (New York: Capricorn, 1959), p. 188.
• H. B. Charlton, Shakespearian Tragedy (Cambridge: Cambridge University Press, 1948), p. 141.
• A. C. Bradley, Shakespearean Tragedy (London: Macmillan, 1904), p. 358.
• James L. Calderwood, If It Were Done: “Macbeth” and Tragic Action (Amherst: University of Massachusetts Press, 1986), pp. 77–89.

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Macbeth Essays

There are loads of ways you can approach writing an essay, but the two i favour are detailed below., the key thing to remember is that an essay should focus on the three aos:, ao1: plot and character development; ao2: language and technique; ao3: context, strategy 1 : extract / rest of play, the first strategy basically splits the essay into 3 paragraphs., the first paragraph focuses on the extract, the second focuses on the rest of the play, the third focuses on context. essentially, it's one ao per paragraph, for a really neatly organised essay., strategy 2 : a structured essay with an argument, this strategy allows you to get a much higher marks as it's structured to form an argument about the whole text. although you might think that's harder - and it's probably going to score more highly - i'd argue that it's actually easier to master. mainly because you do most of the work before the day of the exam., to see some examples of these, click on the links below:, lady macbeth as a powerful woman, macbeth as a heroic character, the key to this style is remembering this: you're going to get a question about a theme, and the extract will definitely relate to the theme., the strategy here is planning out your essays before the exam, knowing that the extract will fit into them somehow., below are some structured essays i've put together., macbeth and gender.

Macbeth ( AQA GCSE English Literature )

Topic questions.

Read the following extract from Act 1 Scene 5 of Macbeth and then answer the question that follows. 

At this point in the play Lady Macbeth is speaking. She has just received the news that King Duncan will be spending the night at her castle. 

Starting with this speech, explain how far you think Shakespeare presents Lady Macbeth as a powerful woman.

Write about:

how Shakespeare presents Lady Macbeth in this speech

how Shakespeare presents Lady Macbeth in the play as a whole

  [30 marks]

 AO4 [4 marks]

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Read the following extract from Act 1 Scene 5 of Macbeth and then answer the questions that follows.

At this point in the play, Lady Macbeth is speaking. She has just read Macbeth's letter telling her about his meeting with the three witches. 

Starting with this speech, explore how Shakespeare presents ambition in Macbeth.

how Shakespeare presents ambition in this speech

how Shakespeare presents ambition in the play as a whole

[30 marks]     

AO4 [4 marks]

Read the following extract from Act 1 Scene 3 of Macbeth and then answer the question that follows.

At this point in the play, after receiving The Witches’ prophecies, Macbeth and Banquo have just been told that Duncan has made Macbeth Thane of Cawdor.

Starting with this moment in the play, explore how Shakespeare presents the attitudes of Macbeth and Banquo towards the supernatural.

how Shakespeare presents the attitudes of Macbeth and Banquo towards the supernatural in this extract

how Shakespeare presents the attitudes of Macbeth and Banquo towards the supernatural in the play as a whole. 

Read the following extract from Act 1 Scene 2 of Macbeth and then answer the question that follows. 

At this point in the play, the Captain tells Duncan about Macbeth’s part in the recent battle. 

Starting with this speech, explore how far Shakespeare presents Macbeth as a violent character.

how Shakespeare presents Macbeth in this extract

how far Shakespeare presents Macbeth as a violent character in the play as a whole.

 [30 marks] AO4 [4 marks]

Read the following extract from Act 5 Scene 1 of Macbeth and then answers the question that follows. 

At this point in the play, the Doctor and the Gentlewoman watch Lady Macbeth sleepwalking. 

‘Lady Macbeth is a female character who changes during the play.’ Starting with this moment in the play, explore how far you agree with this view. Write about:

how Shakespeare presents Lady Macbeth in this extract

how far Shakespeare presents Lady Macbeth as a female character who changes in the play as a whole

[30 marks] AO4 [4 marks]

Read the following extract from Act 2 Scene 2 of Macbeth and then answer the question that follows.

At this point in the play, Macbeth has murdered Duncan and has returned to Lady Macbeth.

Starting with this conversation, explore how Shakespeare presents the relationship between Macbeth and Lady Macbeth.

how Shakespeare presents their relationship in this extract

how Shakespeare presents the relationship between Macbeth and Lady Macbeth in the play as a whole

Read the following extract from Act 3 Scene 1 of Macbeth and then answer the question that follows.

At this point in the play, Macbeth is thinking of his feelings about Banquo.  

Starting with this speech, explore how Shakespeare presents Macbeth’s fears.

how Shakespeare presents Macbeth’s fears in this speech

how Shakespeare presents Macbeth’s fears in the play as a whole.

English Language - Macbeth and IC

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