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Macbeth (Characters (Macbeth (Function (Role (He changes, from the noble…

- - - - Depicts Macbeth's violence (justified killing) and contrasts with his needless slaughter of innocents later; dramatic irony, as his is the head that ends on a stick
      - "Smok'd with bloody execution"
        
        Further makes his treason more treachous - he is the hero in the masculine, bloody medieval setting, whom everyone finds admirable
    - - Highlights the witches effect on him - he begins to use their language
    - - Is a microcosm of Macbeth's murderous thoughts post-Witches, and the supernatural's effect, having transfixed him, and transported to their realm
    - - Portrays the effect of Macbeth's regicide - by going against God, he has thrown Scotland into chaos - even the animals have been driven crazy (by fear)
    - - Plural due to his new role (as King), but also illustrates his lie to the murderers, making the murder of Banquo an innocent precautionary slaughter
    - - Reflects the effect of Macbeth's anxiety after having murdered his best friend; and that Fleance is still alive
      - May also be due to the involvement of the supernatural - it is likely the witches are mocking him, having played so nicely to their tune
    - - Shows an inevitability to his actions - it seems like he is just a puppet in a larger play, controlled by the Witches - and thus, he is being led along
    - - Represents the start of Macbeth's descent himself into madness/nihilism, having lost his cornerstone, Lady Macbeth
      - Could also reflect Macbeth as a hero - appearing unfazed by the overwhelming odds, and courage was an attractive quality for men to have in Jacobean times, as shown by the Thanes' compliments after his successive victories at the start
    - - Illustrates a nihlistic mindset; he is beginning to realise the futility to his power-grab, but also that the Witches have played him
    - - To appeal to James I, by displaying to all in graphic detail what regicide is punished with; a slow descent into madness, from a position of glory, which only worsens the act (is done behind Duncan's back, as Macbeth is, as he says, here in 'Double faith'). Furthermore, appealing to his Catholic beliefs, Macbeth is punished for murdering the God-given king, as suggested by the involvement of the supernatural (Gunpowder Plot) See references
      - Role
        
        He changes, from the noble representee of Duncan, loyal until the end, to a regicidal tyrant, who will stop at nothing to secure his position; and falls heavily, after descending into madness, like his wife. This is the work of the supernatural, who act to bring out the worst in people, and overthrow the natural order of being established in Scotland - through the witches, and Lady Macbeth
        
        His tragic flaw (hamartia) is his overambitious nature/obsession with ambition (hubris, is overly naive, and believes himself to be invincible due to the prophecies), and reliance on his wife (and thus the supernatural, whose intention is to thwart his plans and lead him on)
        
        Defies the great chain of being, through murder (justified under Machiavelii - "The ends justify the means")
      - Is instrumental for the order-disorder chaos that Shakespeare
      - Highlights Shakespeares sycophantic nature
      - Catharsis is invoked - the audience's emotions (pity and fear particularly) are purified, and justified by his downfall - a movement from worship/love for the hero to pity for his pathetic fate/the denouement, and fear for his murderous acts/as they are reminded the lengths people will go to to fulfil their ambition
    - - Illustrates the control Macbeth now has over her - contrast with 'under my battlements'
      - Dead - portrays how Macbeth is now emotionless/emotionally detached due to his dreadful acts, and lack of a 'spur'/motivation
    - - Could be the beginning of the effect the guilt is having on Macbeth - psychological, he is trying to stop himself from doing the deed
      - Could also be the effect of the supernatural, which are just trying to spur him on
    - - Shocking for the audience - would indicate Macbeth has control over the devil, further amplified by his outbursting against an innocent, otherwise uninvolved servant. Sure sign of evil, and portrays Macbeth as irrational, malicious and broken
  - - - Assertive, controlling; but yet, reflects her untrustworthyness, in that 'the rest' is pursuading Macbeth, not doing it herself
    - - Portrays her malicious, coldhearted intentions; although she isn't strong enough to fulfil it, her intention is all there
      - Gall, meaning poison, represents the metaphorical replacement of her feminine feelings with evil, to prevent them from distracting her from her deadly ambition/purpose
      - Contrasts with Banquo, who, in a similar speech, refuses to let the evil spirits enter him, having to fight the evil thoughts they visit him with; Lady Macbeth invites them in, irrelevant of the cost
        
        Connotations of vampires and their accompanying evil; they must be invited in
      - Shows she is going against societies beliefs about gender, as she is controlling her husband and committing evil. Also during Elizabeth's reign, the main female roles of Shakespeare were strong females, as he wanted to please her, but now there is a king Shakespeare is being a sycophant for making the lead role female but evil, suggesting that man is the dominant gender
        
        Defies gender roles - contrasts with the quiet, passive, supporting wife
        
        Contextual - she takes a risk, as witchcraft was punishable by death
    - - Illustrates her dominant position in the relationship
      - Raven is typically an ill omen, foreboding, associated with the supernatural (Norse mythology, Odin's raven)
    - - Reflects her evil and cruelty, but also how she is willing to twist the truth to get to Macbeth (he has never promised to do this)
      - Also portrays a recurring theme; the destruction of youth, and innocence
    - - Irony - reflects her naiviety, as she is later drivn insane trying to wash the blood of her hands, due to the effect of the overbearing guilt on her subconcious
    - - Pathetic resignation; it seems that Lady Macbeth has almost accepted Macbeth's guilt for him, as the act is his solely
      - Reflects her descent into madness, the rhyme making her almost seem comic
    - - She is the mastermind behind Macbeth's intitial plans, and pushes him over the edge, when he pleas her for help (to fulfil his ambition). However, she is increasingly less involved in his plots, and ends up killing herself, as her subconciousness is overwhelmed by her involvement, and for having to accept Macbeth's increasingly tyrannical acts.
      - Function
        
        Seems to act/become Macbeth's ego, or other self - she adopts a more masculine form ('Unsex me here'), in order to help Macbeth overcome his insecurities, and fulfil his ambition. She not only adopts a new form, but discards the oldd, feminine one, caliming she would 'pluck the infant from her breast' - challenging feminine stereotypes. This introduces certain familial and domestic themes,
        
        Again, appeals to James; Shakespeare's sycophantic nature is reflected in his plays, the main character(s) often having the purpose of reflecting the Monarch's noblilty and power. This is, for example, shown by his plays during the reign of Elizabeth I - with strong female leads. Similarly, here, the opposite gender is shown as evil, and unnatural, reassuring James of his power, authority and righteous divine right, which he could no doubt also see in the heroes of Macbeth, Macduff, and Banquo
        
        While initally working as a team with Macbeth, once she has started him, he cannot stop, and carries on his mindless slaughter, unaided, and begins to challenge Lady Macbeth, with no reply (unlike the start).
    - - Shows a start in the development of her weakness/downfall
    - - Again reflects how now that Macbeth is adequately evil, she is cast aside - powerless, in the marriage
      - 'Chuck' is Macbeth talking down to her
    - - Shows her irrelevance - acted as a catalyst, but is now useless
      - Her death is offstage to reflect its insignificance to the play, and Macbeth himself (who purely acknowledges it)
  - - - Reflects how the witches turn the tables, leading Macbeth from good to the evil tyrant he becomes
      - Alliteration, draws attention to the juxtaposition of the Witches' words - develops the idea that this is a frightening world in which everything is being turned around by the evil. Particularly effective on the Jacobean audience, but not so on a cynical modern audience
        
        Develops an atmosphere of confusion and lack of control - contrasting adjectives (Lost and won) create a sense of false illusion - appearance v reality
    - - Perfect depiction of the Witches by Banquo, and their intentions'; leading Macbeth on until he is overthrown by his own ambition, but always feeding him enough truth to make him feel safe
    - - To represent the evil of the supernatural, and to lead Macbeth on - starting by initiating Macbeth's ambition of killing Duncan. Furthermore, the fulfilment of their propecies condition him to continue. They are key to the supernatural theme, which both involves Lady Macbeth, and the 'dagger of the mind', which illustrates the Witches role, and their tempting him onwards
      - Used to pull in and interest the witches due to the large interest and belief in the supernatural - uses their meeting in the first scene to prompt curiosity. Also represent appearance v reality (their true intentions hidden behind their deeds)
      - Talk in rhyming couplets and trochaic tetrameter
        
        Helps contribute to the spell-like, magical casting nature of their conversation. Hightens the sense of their supernatural nature, making them stand out from the other characters
        
        Polarises/contrasts them from/with the righteous nobles
        
        Creates a frightening sense of finality - they change the way things work, and everyone is powerless to stop them
  - - - Illustrates Banquo's suspisions, and how Macbeth has fallen for the witches
      - Reflects Banquo's position as Macbeth's foil - he fully aware of the Witches' effect, but has not fallen for it himself
    - - Contrasts with Macbeth/Lady Macbeth's invitation of the spirits - he actively tries to fight them, appealing to the opposite side to 'restrain' his evil thoughts the witches have 'won' him with
      - Banquo cannot sleep, which is similar to Macbeth's "Macbeth hath murdered sleep" after Duncan's murder; the loss of sleep is an indicator of the effect of the Witches' evil
      - A counterpoint to Macbeth's indicisive speech, in which he is unable to convince himself one way or the other - knowing Duncan is here "in double faith", and the murderer of the innocent he knows he will become; but Lady Macbeth interfers, representing the evil/supernatural, and lures him over
      - He may be resisting sleep in order to stop himself from acting on his "cursed thoughts" - murdering Duncan in order to secure the kingship for his son, Fleance
    - - Acts as Macbeth's foil, and struggles (against the supernatural) to stay loyal to Duncan; and seems to be fully aware of Macbeth's actions. He serves as a part warning against regicide, as well as overbearing ambition - he was Macbeth's best friend, but yet Macbeth will not stop at anything to fulfil his ambition. This is again Shakespeare cosying up to James, as it serves as a warning for going against the natural order - killing Fleance, who is also representative of the innocent youth
      - Furthermore, his murder further implicates Macbeth - he is almost innocent as the King himself, remaining loyal, fighting against the spirits, unlike (L.) Macbeth
  - - - Illustrates Macduff's role as Macbeth's foil - but also fulfils the inevitable prediction of the witches
- - - - The fact that the king himself believed in witches caused a further belief in witches in English society
- - - - Is intimate, strangely so for a Shakespeare piece
      - Her reaction to Macbeth having killed the grooms seems/is genuine, to an extent; while the intent in the text is to divert attention, here, she seems genuinely overwhelmed/surprised at Macbeth's brutality, and reflects her more feminineness, in that such a horrible scene shakes her