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. . . Come, you spirits
That tend on mortal thoughts, unsex me here,
And fill me from the crown to the toe top-full
Of direst cruelty.
In Inverness, Macbeth’s castle, Lady Macbeth reads to herself a letter she has received from Macbeth. The letter announces Macbeth’s promotion to the thaneship of Cawdor and details his meeting with the witches. Lady Macbeth murmurs that she knows Macbeth is ambitious, but fears he is too full of “th’ milk of human kindness” to take the steps necessary to make himself king (1.5.15). She resolves to convince her husband to do whatever is required to seize the crown. A messenger enters and informs Lady Macbeth that the king rides toward the castle, and that Macbeth is on his way as well. As she awaits her husband’s arrival, she delivers a famous speech in which she begs, “you spirits / That tend on mortal thoughts, unsex me here, / And fill me from the crown to the toe top-full / Of direst cruelty” (1.5.38–41). She resolves to put her natural femininity aside so that she can do the bloody deeds necessary to seize the crown. Macbeth enters, and he and his wife discuss the king’s forthcoming visit. Macbeth tells his wife that Duncan plans to depart the next day, but Lady Macbeth declares that the king will never see tomorrow. She tells her husband to have patience and to leave the plan to her.Read a translation of Act 1, scene 5 →
Duncan, the Scottish lords, and their attendants arrive outside Macbeth’s castle. Duncan praises the castle’s pleasant environment, and he thanks Lady Macbeth, who has emerged to greet him, for her hospitality. She replies that it is her duty to be hospitable since she and her husband owe so much to their king. Duncan then asks to be taken inside to Macbeth, whom he professes to love dearly.Read a translation of Act 1, scene 6 →
If it were done when ’tis done, then ’twere well
It were done quickly . . .
. . .
. . . 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.
Inside the castle, as oboes play and servants set a table for the evening’s feast, Macbeth paces by himself, pondering his idea of assassinating Duncan. He says that the deed would be easy if he could be certain that it would not set in motion a series of terrible consequences. He declares his willingness to risk eternal damnation but realizes that even on earth, bloody actions “return / To plague th’inventor” (1.7.9–10). He then considers the reasons why he ought not to kill Duncan: Macbeth is Duncan’s kinsman, subject, and host; moreover, the king is universally admired as a virtuous ruler. Macbeth notes that these circumstances offer him nothing that he can use to motivate himself. He faces the fact that there is no reason to kill the king other than his own ambition, which he realizes is an unreliable guide.
Lady Macbeth enters and tells her husband that the king has dined and that he has been asking for Macbeth. Macbeth declares that he no longer intends to kill Duncan. Lady Macbeth, outraged, calls him a coward and questions his manhood: “When you durst do it,” she says, “then you were a man” (1.7.49). He asks her what will happen if they fail; she promises that as long as they are bold, they will be successful. Then she tells him her plan: while Duncan sleeps, she will give his chamberlains wine to make them drunk, and then she and Macbeth can slip in and murder Duncan. They will smear the blood of Duncan on the sleeping chamberlains to cast the guilt upon them. Astonished at the brilliance and daring of her plan, Macbeth tells his wife that her “undaunted mettle” makes him hope that she will only give birth to male children (1.7.73). He then agrees to proceed with the murder.
These scenes are dominated by Lady Macbeth, who is probably the most memorable character in the play. Her violent, blistering soliloquies in Act 1, scenes 5 and 7, testify to her strength of will, which completely eclipses that of her husband. She is well aware of the discrepancy between their respective resolves and understands that she will have to manipulate her husband into acting on the witches’ prophecy. Her soliloquy in Act 1, scene 5, begins the play’s exploration of gender roles, particularly of the value and nature of masculinity. In the soliloquy, she spurns her feminine characteristics, crying out “unsex me here” and wishing that the milk in her breasts would be exchanged for “gall” so that she could murder Duncan herself. These remarks manifest Lady Macbeth’s belief that manhood is defined by murder. When, in Act 1, scene 7, her husband is hesitant to murder Duncan, she goads him by questioning his manhood and by implicitly comparing his willingness to carry through on his intention of killing Duncan with his ability to carry out a sexual act (1.7.38–41). Throughout the play, whenever Macbeth shows signs of faltering, Lady Macbeth implies that he is less than a man.
Macbeth exclaims that Lady Macbeth should “[b]ring forth men-children only” because she is so bold and courageous (1.7.72). Since Macbeth succumbs to Lady Macbeth’s wishes immediately following this remark, it seems that he is complimenting her and affirming her belief that courage and brilliance are masculine traits. But the comment also suggests that Macbeth is thinking about his legacy. He sees Lady Macbeth’s boldness and masculinity as heroic and warriorlike, while Lady Macbeth invokes her supposed masculine “virtues” for dark, cruel purposes. Unlike Macbeth, she seems solely concerned with immediate power.
“Man is not the creature of circumstances
Circumstances are the creatures of man.”
Macbeth, throughout the play, is presented as one much above the ordinary beings, and, as such, he fulfils the basic -requirements of being a tragic hero. Shakespeare, introduces him as a brave general, a bold, resolute man of action who through as also referred to “Valor’s minion”, “Bellona’s bridegroom’’, the king’s ‘’valiant cousin’’, a very “eagle’’ among ?... Read more→
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