There is never any doubt that Macbeth was bludgeoned into the deed by Lady Macbeth - Discuss

Shakespeare’s Macbeth (2009 [1606]) is a tale of ambition, honour, regicide and remorse. The essay title suggests that Lady Macbeth was responsible for Duncan’s death; however, I intend to explore other theories and produce evidence in order to conclude who was responsible for the murder of a king: Were Lady Macbeth’s powers of rhetorical speech to blame? Did Macbeth’s ambition drive him to commit regicide?  Were The Witches supernatural powers responsible?

The fact the play was written for James I is evident in Shakespeare’s desire for the audience to have pathos with the male protagonist and perceive the females as villains, he clearly intended to portray Macbeth favourably. James was known to have “great contempt for women” (Fraser, 1993 [1975], p220)

Witchcraft at the time of writing was a very topical subject. James I had a particular interest in witches and wrote a book entitled “Deamonologie” in 1597. Allegedly a coven of witches attempted to sink a ship on which he was sailing (Sigmund, 1979, p4). Given the intended audience, witches being responsible for regicide would ensure James’ pathos with Macbeth; just to be sure Shakespeare includes a reference to a sailor in a witch’s scene (I.3.3-24).

We hear of Macbeth’s qualities well before his entrance. He is described as “brave” (I.2.16), “worthy” (I.2.24) and “noble” (I.2.67). The captain gives explicit details about Macbeth’s role in the victory (I.2.16-23) to present Macbeth as a mighty warrior. Without this initial, favourable, image of Macbeth we would simply see him as a cold, callous murderer as Duncan is murdered very early in the play – we cannot condemn someone we have been led to admire!

Macbeth enters the play at (I.3.36) and converses with the witches who greet him with life changing prophecies. By line 116, the seeds of conspiracy are already sown “The greatest is behind” (I.3.116). He courts Banquo’s thoughts, enquiring if he is having similar thoughts “Do you not hope your children shall be Kings” (I.3.117). According to Holinshed’s Chronicles, Banquo was an accomplice in Duncan’s murder; however as James was Banquo’s descendant this would have been ill received.

Macbeth is troubled by the prophecies. In his aside he speaks of thoughts which “make my seated heart knock at my ribs” (I.3.135). He appears to succumb to reason when he states “If chance will have me king, why chance may crown me: Without my stir.” (I.3.142-143). However, he writes to Lady Macbeth describing the prophecies – does he anticipate her ruthlessness? Did he expect Banquo to be more enthused? This suggests he knew he would be incapable of acting alone.

The point that Macbeth is essentially a good man is played on throughout by attacks of guilt and insomnia. Insomnia is mentioned immediately after the murder “Macbeth shall sleep no more” (II.2.46). Shakespeare wants us to perceive Macbeth as a tragic hero, not a cold blooded killer. In another aside he says “Stars hide your fires, Let not light see my black and deep desires” (I.5.50-51) demonstrating his shame. His soliloquy before the murder (I.7.1–28) shows he is aware murdering Duncan is wrong and he talks of consequences in the afterlife:

“Might be the be all and end all – here,

But here, upon this bank and shoal of time,

We’d jump the life to come. But in these cases,

We still have judgement here that we but teach

Bloody instructions, which being taught, return

To plague th’inventor” (I.7.5-10)

In 1606 people believed strongly in receiving penance for their sins in the afterlife. Macbeth acknowledges Duncan’s endearing qualities and uses alliteration to liken his innocence to that of a “naked, newborn babe” (I.7.21). Hyperbole emphasises Duncan’s goodness even further (I.7.19-25). He ends by concluding that “I have no spur: To prick the sides of my intent, but only Vaulting ambition” (I.7.25-27), he can not justify his intentions.

Our first impression of Lady Macbeth is a callous, ambitious woman. She first appears reading the letter Macbeth sent addressing her as his “dearest partner of greatness” (I.5.10) telling her  “what greatness is promised thee” (I.5.12). Lady Macbeth is plotting immediately in her soliloquy. She acknowledges Macbeth is “too full o’th’milk of human kindness: To catch the nearest way” (I.5.15-16) - incapable of murder! She plots to persuade him. “That I may pour my spirits in thine ear, And chastise with the valour of my tongue” (I.5.25-26)

When the couple are first re-united Lady Macbeth greets her husband with his titles and informs him his letter has served its purpose. She bluntly states that the king will die that night, “O never shall sun that morrow see” ((I.5.59-60).

After Macbeth informs his wife “We will proceed no further in this business” (I.7 31) Lady Macbeth gives a rhetorical speech worthy of a politician. The speech is laced with mockery and ecphonesis. She uses interegatio throughout to make Macbeth see his cowardice. She uses the metaphor of a “poor cat I’th’adage” (I.7.45) to further mock him. She implies that Macbeth has broken a promise to her making him less of a man

”What beast was’t then

That made you break this enterprise to me?

When you durst do it, then you were a man.” (I.7.47-49)

Emotional blackmail is used, questioning his love for her - as though breaking his word is worse than murder. Her desperation to convince him is demonstrated with the ecphonic lines:

“I have given suck and know

How tender ‘tis to love the babe that milks me:

I would, while it was smiling in my face,

Have pluck’d my nipple from his boneless gums

And dash’d the brains out, had I so sworn

As you have done to this” (I.7.54-59)

Extreme imagery is conjured up and we see the turning point - Macbeth asks “If we should fail?” Now she knows she almost has him and continues with the practicalities, demonstrating her callousness. She finishes by explaining they will never be suspected. Macbeth is convinced and we are assured of her success when he elaborates on the practicalities. However, in the last lines of the act Shakespeare uses alliteration reminding us of Macbeths underlying goodness. “False face must hide what the false heart doth know” (I.7.82). This also foreshadows he will be plagued by guilt.

The witches are the backbone of the story. Although not physically present throughout much of the play, they have the most significant role. The fact they are the first characters we see foreshadows this. The audience is forced to consider the implicitness of their presence. Without the prophecy “All hail Macbeth, that shalt be King hereafter” (I.3.49) Macbeth would have never thought of being king and would never have conveyed the idea to Lady Macbeth. It is possible Shakespeare intended the audience to believe the witches had bewitched Macbeth. There are references to Macbeth being “rapt” (I.3.55) (I.3.141) (I.5.5).

Was there ever any doubt that Macbeth was ‘bludgeoned’ into the deed by Lady Macbeth? Yes! The term ‘bludgeoned’ implies Macbeth was forcibly persuaded to commit murder. Lady Macbeth would never have been aware of the prophecies had Macbeth chose not to tell her. Her persuasiveness only helped Macbeth fight his conscience; the seed was sown when the witches hailed him King. The couple worked together to acquire greatness – even if only in title! The witches planted the seed and the couple fed and watered it. Duncan’s demise was a result of ‘The Power of Three’.

Bibliography

Fraser, A, (1993 [1975]) The Lives of The Kings & Queens of England. LONDON, Orion Publishing Group

Shakespeare, W (ed, Gill R) (2009 [1606]) Macbeth: Oxford School Shakespeare. OXFORD. Oxford University Press

Sigmund, EJ. (1979) Yorkshire Witchcraft. CORNWALL. James Pike Ltd