what to include in a macbeth essay

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.

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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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Literary Theory and Criticism

Home › Drama Criticism › Analysis of William Shakespeare’s Macbeth

Analysis of William Shakespeare’s Macbeth

By NASRULLAH MAMBROL on July 25, 2020 • ( 0 )

Macbeth . . . is done upon a stronger and more systematic principle of contrast than any other of Shakespeare’s plays. It moves upon the verge of an abyss, and is a constant struggle between life and death. The action is desperate and the reaction is dreadful. It is a huddling together of fierce extremes, a war of opposite natures which of them shall destroy the other. There is nothing but what has a violent end or violent beginnings. The lights and shades are laid on with a determined hand; the transitions from triumph to despair, from the height of terror to the repose of death, are sudden and startling; every passion brings in its fellow-contrary, and the thoughts pitch and jostle against each other as in the dark. The whole play is an unruly chaos of strange and forbidden things, where the ground rocks under our feet. Shakespear’s genius here took its full swing, and trod upon the farthest bounds of nature and passion.

—William Hazlitt, Characters of Shakespeare’s Plays

Macbeth completes William Shakespeare’s great tragic quartet while expanding, echoing, and altering key elements of Hamlet, Othello, and King Lear into one of the most terrifying stage experiences. Like Hamlet, Macbeth treats the  consequences  of  regicide,  but  from  the  perspective  of  the  usurpers,  not  the  dispossessed.  Like  Othello,  Macbeth   centers  its  intrigue  on  the  intimate  relations  of  husband  and  wife.  Like  Lear,  Macbeth   explores  female  villainy,  creating in Lady Macbeth one of Shakespeare’s most complex, powerful, and frightening woman characters. Different from Hamlet and Othello, in which the tragic action is reserved for their climaxes and an emphasis on cause over effect, Macbeth, like Lear, locates the tragic tipping point at the play’s outset to concentrate on inexorable consequences. Like Othello, Macbeth, Shakespeare’s shortest tragedy, achieves an almost unbearable intensity by eliminating subplots, inessential characters, and tonal shifts to focus almost exclusively on the crime’s devastating impact on husband and wife.

What is singular about Macbeth, compared to the other three great Shakespearean tragedies, is its villain-hero. If Hamlet mainly executes rather than murders,  if  Othello  is  “more  sinned  against  than  sinning,”  and  if  Lear  is  “a  very foolish fond old man” buffeted by surrounding evil, Macbeth knowingly chooses  evil  and  becomes  the  bloodiest  and  most  dehumanized  of  Shakespeare’s tragic protagonists. Macbeth treats coldblooded, premeditated murder from the killer’s perspective, anticipating the psychological dissection and guilt-ridden expressionism that Feodor Dostoevsky will employ in Crime and Punishment . Critic Harold Bloom groups the protagonist as “the culminating figure  in  the  sequence  of  what  might  be  called  Shakespeare’s  Grand  Negations: Richard III, Iago, Edmund, Macbeth.” With Macbeth, however, Shakespeare takes us further inside a villain’s mind and imagination, while daringly engaging  our  sympathy  and  identification  with  a  murderer.  “The  problem  Shakespeare  gave  himself  in  Macbeth  was  a  tremendous  one,”  Critic  Wayne  C. Booth has stated.

Take a good man, a noble man, a man admired by all who know him—and  destroy  him,  not  only  physically  and  emotionally,  as  the  Greeks  destroyed their heroes, but also morally and intellectually. As if this were not difficult enough as a dramatic hurdle, while transforming him into one of the most despicable mortals conceivable, maintain him as a tragic hero—that is, keep him so sympathetic that, when he comes to his death, the audience will pity rather than detest him and will be relieved to see him out of his misery rather than pleased to see him destroyed.

Unlike Richard III, Iago, or Edmund, Macbeth is less a virtuoso of villainy or an amoral nihilist than a man with a conscience who succumbs to evil and obliterates the humanity that he is compelled to suppress. Macbeth is Shakespeare’s  greatest  psychological  portrait  of  self-destruction  and  the  human  capacity for evil seen from inside with an intimacy that horrifies because of our forced identification with Macbeth.

Although  there  is  no  certainty  in  dating  the  composition  or  the  first performance  of  Macbeth,   allusions  in  the  play  to  contemporary  events  fix the  likely  date  of  both  as  1606,  shortly  after  the  completion  and  debut  of  King Lear. Scholars have suggested that Macbeth was acted before James I at Hampton  Court  on  August  7,  1606,  during  the  royal  visit  of  King  Christian IV of Denmark and that it may have been especially written for a royal performance. Its subject, as well as its version of Scottish history, suggest an effort both to flatter and to avoid offending the Scottish king James. Macbeth is a chronicle play in which Shakespeare took his major plot elements from Raphael  Holinshed’s  Chronicles  of  England,  Scotland  and  Ireland  (1587),  but  with  significant  modifications.  The  usurping  Macbeth’s  decade-long  (and  largely  successful)  reign  is  abbreviated  with  an  emphasis  on  the  internal  and external destruction caused by Macbeth’s seizing the throne and trying to hold onto it. For the details of King Duncan’s death, Shakespeare used Holinshed’s  account  of  the  murder  of  an  earlier  king  Duff  by  Donwald,  who cast suspicion on drunken servants and whose ambitious wife played a significant role in the crime. Shakespeare also eliminated Banquo as the historical Macbeth’s co-conspirator in the murder to promote Banquo’s innocence and nobility in originating a kingly line from which James traced his legitimacy. Additional prominence is also given to the Weird Sisters, whom Holinshed only mentions in their initial meeting of Macbeth on the heath. The prophetic warning “beware Macduff” is attributed to “certain wizards in whose words Macbeth put great confidence.” The importance of the witches and  the  occult  in  Macbeth   must  have  been  meant  to  appeal  to  a  king  who  produced a treatise, Daemonologie (1597), on witch-craft.

The uncanny sets the tone of moral ambiguity from the play’s outset as the three witches gather to encounter Macbeth “When the battle’s lost and won” in an inverted world in which “Fair is foul, and foul is fair.” Nothing in the play will be what it seems, and the tragedy results from the confusion and  conflict  between  the  fair—honor,  nobility,  duty—and  the  foul—rank  ambition and bloody murder. Throughout the play nature reflects the disorder and violence of the action. Opening with thunder and lightning, the drama is set in a Scotland contending with the rebellion of the thane (feudal lord) of Cawdor, whom the fearless and courageous Macbeth has vanquished on the battlefield. The play, therefore, initially establishes Macbeth as a dutiful and trusted vassal of the king, Duncan of Scotland, deserving to be rewarded with the rebel’s title for restoring peace and order in the realm. “What he hath lost,” Duncan declares, “noble Macbeth hath won.” News of this honor reaches Macbeth through the witches, who greet him both as the thane of Cawdor and “king hereafter” and his comrade-in-arms Banquo as one who “shalt get kings, though thou be none.” Like the ghost in Hamlet , the  Weird  Sisters  are  left  purposefully  ambiguous  and  problematic.  Are  they  agents  of  fate  that  determine  Macbeth’s  doom,  predicting  and  even  dictating  the  inevitable,  or  do  they  merely  signal  a  latency  in  Macbeth’s  ambitious character?

When he is greeted by the king’s emissaries as thane of Cawdor, Macbeth begins to wonder if the first predictions of the witches came true and what will come of the second of “king hereafter”:

This supernatural soliciting Cannot be ill, cannot be good. If ill, Why hath it given me earnest of success Commencing in a truth? I am Thane of Cawdor. If good, why do I yield to that suggestion Whose horrid image doth unfix my hair And make my seated heart knock at my ribs, Against the use of nature? Present fears Are less than horrible imaginings: My thought, whose murder yet is but fantastical, Shakes so my single state of man that function Is smother’d in surmise, and nothing is But what is not.

Macbeth  will  be  defined  by  his  “horrible  imaginings,”  by  his  considerable  intellectual and imaginative capacity both to understand what he knows to be true and right and his opposed desires and their frightful consequences. Only Hamlet has as fully a developed interior life and dramatized mental processes as  Macbeth  in  Shakespeare’s  plays.  Macbeth’s  ambition  is  initially  checked  by his conscience and by his fear of the unforeseen consequence of violating moral  laws.  Shakespeare  brilliantly  dramatizes  Macbeth’s  mental  conflict in near stream of consciousness, associational fashion:

If it were done when ’tis done, then ’twere well It were done quickly. If th’assassination Could trammel up the consequence, and catch With his surcease, success: that but this blow Might be the be all and the 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. This even-handed justice Commends th’ingredients of our poison’d chalice To our own lips. 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. Besides, this Duncan Hath borne his faculties so meek, hath been So clear in his great office, that his virtues Will plead like angels trumpet-tongued against The deep damnation of his taking-off, And pity, like a naked new-born babe, Striding the blast, or heaven’s cherubin, horsed Upon the sightless couriers of the air, Shall blow the horrid deed in every eye That tears shall drown the wind. I have no spur To prick the sides of my intent, but only Vaulting ambition which o’erleaps itself And falls on the other.

Macbeth’s “spur” comes in the form of Lady Macbeth, who plays on her husband’s selfimage of courage and virility to commit to the murder. She also reveals her own shocking cancellation of gender imperatives in shaming her husband into action, in one of the most shocking passages of the play:

. . . 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 plucked my nipple from his boneless gums And dashed the brains out, had I so sworn As you have done to this.

Horrified  at  his  wife’s  resolve  and  cold-blooded  calculation  in  devising  the  plot,  Macbeth  urges  his  wife  to  “Bring  forth  menchildren  only,  /  For  thy  undaunted mettle should compose / Nothing but males,” but commits “Each corporal agent to this terrible feat.”

With the decision to kill the king taken, the play accelerates unrelentingly through a succession of powerful scenes: Duncan’s and Banquo’s murders, the banquet scene in which Banquo’s ghost appears, Lady Macbeth’s sleepwalking, and Macbeth’s final battle with Macduff, Thane of Fife. Duncan’s offstage murder  contrasts  Macbeth’s  “horrible  imaginings”  concerning  the  implications and Lady Macbeth’s chilling practicality. Macbeth’s question, “Will all great Neptune’s ocean wash this blood / Clean from my hand?” is answered by his wife: “A little water clears us of this deed; / How easy is it then!” The knocking at the door of the castle, ominously signaling the revelation of the crime, prompts the play’s one comic respite in the Porter’s drunken foolery that he is at the door of “Hell’s Gate” controlling the entrance of the damned. With the fl ight of Duncan’s sons, who fear for their lives, causing them to be suspected as murderers, Macbeth is named king, and the play’s focus shifts to Macbeth’s keeping and consolidating the power he has seized. Having gained what the witches prophesied, Macbeth next tries to prevent their prediction that Banquo’s descendants will reign by setting assassins to kill Banquo and his son, Fleance. The plan goes awry, and Fleance escapes, leaving Macbeth again at the mercy of the witches’ prophecy. His psychic breakdown is dramatized by his seeing Banquo’s ghost occupying Macbeth’s place at the banquet. Pushed to  the  edge  of  mental  collapse,  Macbeth  steels  himself  to  meet  the  witches  again to learn what is in store for him: “Iam in blood,” he declares, “Stepp’d in so far that, should Iwade no more, / Returning were as tedious as go o’er.”

The witches reassure him that “none of woman born / Shall harm Macbeth” and that he will never be vanquished until “Great Birnam wood to high Dunsinane hill / Shall come against him.” Confident that he is invulnerable, Macbeth  responds  to  the  rebellion  mounted  by  Duncan’s  son  Malcolm  and  Macduff, who has joined him in England, by ordering the slaughter of Lady Macduff and her children. Macbeth has progressed from a murderer in fulfillment of the witches predictions to a murderer (of Banquo) in order to subvert their predictions and then to pointless butchery that serves no other purpose than as an exercise in willful destruction. Ironically, Macbeth, whom his wife feared  was  “too  full  o’  the  milk  of  human  kindness  /  To  catch  the  nearest  way” to serve his ambition, displays the same cold calculation that frightened him  about  his  wife,  while  Lady  Macbeth  succumbs  psychically  to  her  own  “horrible  imaginings.”  Lady  Macbeth  relives  the  murder  as  she  sleepwalks,  Shakespeare’s version of the workings of the unconscious. The blood in her tormented  conscience  that  formerly  could  be  removed  with  a  little  water  is  now a permanent noxious stain in which “All the perfumes of Arabia will not sweeten.” Women’s cries announcing her offstage death are greeted by Macbeth with detached indifference:

I have almost forgot the taste of fears: The time has been, my senses would have cool’d To hear a nightshriek, and my fell of hair Would at a dismal treatise rouse and stir As life were in’t. Ihave supp’d full with horrors; Direness, familiar to my slaughterous thoughts, Cannot once start me.

Macbeth reveals himself here as an emotional and moral void. Confirmation that “The Queen, my lord, is dead” prompts only the bitter comment, “She should have died hereafter.” For Macbeth, life has lost all meaning, refl ected in the bleakest lines Shakespeare ever composed:

Tomorrow, and tomorrow, and tomorrow Creeps in this petty pace from day to day To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.

Time and the world that Macbeth had sought to rule are revealed to him as empty and futile, embodied in a metaphor from the theater with life as a histrionic, talentless actor in a tedious, pointless play.

Macbeth’s final testing comes when Malcolm orders his troops to camoufl  age  their  movement  by  carrying  boughs  from  Birnam  Woods  in  their march toward Dunsinane and from Macduff, whom he faces in combat and reveals that he was “from his mother’s womb / Untimely ripp’d,” that is, born by cesarean section and therefore not “of woman born.” This revelation, the final fulfillment of the witches’ prophecies, causes Macbeth to fl ee, but he is prompted  by  Macduff’s  taunt  of  cowardice  and  order  to  surrender  to  meet  Macduff’s challenge, despite knowing the deadly outcome:

Yet I will try the last. Before my body I throw my warlike shield. Lay on, Macduff, And damn’d be him that first cries, “Hold, enough!”

Macbeth  returns  to  the  world  of  combat  where  his  initial  distinctions  were  honorably earned and tragically lost.

The play concludes with order restored to Scotland, as Macduff presents Macbeth’s severed head to Malcolm, who is hailed as king. Malcolm may assert his control and diminish Macbeth and Lady Macbeth as “this dead butcher and his fiendlike queen,” but the audience knows more than that. We know what  Malcolm  does  not,  that  it  will  not  be  his  royal  line  but  Banquo’s  that  will eventually rule Scotland, and inevitably another round of rebellion and murder is to come. We also know in horrifying human terms the making of a butcher and a fiend who refuse to be so easily dismissed as aberrations.

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129 Macbeth Essay Topic Ideas & Examples

🏆 best macbeth topic ideas & essay examples, 👍 good essay topics on macbeth, 📌 most interesting macbeth topics to write about, 👍 good research topics about macbeth, ❓ macbeth essay questions.

Writing an essay on Shakespearean tragedies may be tricky for some students. There are a lot of ideas to put in your paper, and that may puzzle you. That’s why we’ve prepared a short guide on how to write Macbeth essay.

Macbeth is a tragedy by William Shakespeare based on the true story of Scottish king Macbeth. The play tells us about a Scottish general who heard a prophecy from a trio of witches and decided to bring predictions to fulfillment. This is a drama about the jeopardy of excessive lust for power and betrayal of friends.

Some researchers state that William Shakespeare adopted the plot from Holinshed’s Chronicles, a popular history of England, while others argue that the plot of the play was borrowed from George Buchanan. Before you start your Macbeth essay, you should do thorough research on facts and fiction around the play.

To give you ideas on how and what to write in your essay, check the tips below:

• Check our Macbeth essay samples to acquire knowledge on characters: Macbeth, Lady Macbeth, King Duncan, Banquo, Malcolm, Macduff, Three Witches, and others. Each character is unique, and it’s quite easy to write a paper on each of them. Make a meticulous analysis of each of them, if you decide to write an essay on Macbeth characters. Use dialogues and monologues as supporting arguments to your ideas.
• In your Macbeth essay introduction provide readers with the thesis statement and a summary you’re going to discuss in the paper. Specify what exactly you will depict or analyze. Sometimes, you may need to write the intro after you finish the body and already have done an in-depth analysis of text and critique materials.
• When writing body paragraphs, describe the essay topic in detail. Start each section with a short statement, provide a supporting quote, explain it, and make a conclusion. You can always analyze IvyPanda Macbeth essay titles to learn various points of view on each character and event.
• In the Macbeth essay conclusion, reiterate a topic and your analysis. You should not only summarize the information you’ve gathered and analyzed in the paper body. You have to get back to the intro and provide clear and extensive answers on the questions you raised. Try not to leave any further questions for your readers. Here’s the secret: some professors read the conclusion first. So make it persuasive and give a complete portion of information.

You may be wondering how to use essay examples that you may find on our website. It is super easy. First of all, look through the titles to get some topic ideas.

Then, look through the sample and learn how to create your outline. Think about what you can write in your essay. Check the bibliography: there you can find useful sources for the research.

Indeed, any paper on Shakespeare’s play may concern a variety of topics. So check out our Macbeth essay examples and think of the topics which you can choose.

• Dramatic Irony in Macbeth Essay Shakespeare uses dramatic irony to amuse the audience and to show the level of deception developed by the main character. The porter gives a clear picture of what is about to happen.
• Betrayal in Shakespeare’s “Macbeth” The betrayer, Macbeth betrays the King, friend and other subjects in the kingdom. However when Macbeth is told he has just been chosen as the Thane of Cawdor, scenes of the possibilities of him as […]
• Supernatural Elements of Act I and II in Macbeth In the play, the supernatural things are central to the plot of the play as they provide a basis for action as Shakespeare meant them to fit in putting the play together.
• Unchecked Ambition in Shakespeare’s “Macbeth” However, in Act 1, scenes 1 to 4, the audience is introduced to Macbeth’s increasing fear and the developing desire to be the king. It appears that the desire to be the king overrides his […]
• Shakespeare Tragedies: Macbeth and King Lear At the beginning of the play, he decides to abdicate his throne and divide his kingdom among his three daughters. This choice eventually undermines the ethical integrity of this character, and he murders murder to […]
• William Shakespeare: Hamlet and Macbeth It is important to examine the role that the setting plays in Hamlet and Macbeth in relation to the tragic flaw and developments of the plot.
• Character Analysis of “Macbeth” by William Shakespeare The unplanned overnight stay of King Duncan and his entourage at Macbeth’s castle precipitates Macbeth’s first fateful decision: to murder King Duncan and clear the way for the witches’ prophecy to come true.
• Literary Character Analysis of Shakespeare’s “Macbeth” The very reason that made me write about this character was how he is depicted as a hero in the opening pages of the play, and only to learn how weak he is from his […]
• The Downfall of Macbeth Nonetheless, he goes on to murder the king and his character takes a turn for the worst as he kills the chamberlains who would give witness of the king’s death and he claims he killed […]
• The Use of Hands as a Motif in Shakespeare’s “Macbeth” The play presents readers with the world of royalty and the well-knit state; the world of Duncan, his two sons, Banquo, Macbeth and the whole of Scotland and England.
• Macbeth & Frankenstein: Compare & Contrast In the being of the play, we assume that Macbeth is akin to the king, a loyal soldier, and a person “full of the milk of human kindness”.
• The Life and Work of William Shakespeare: His Contribution to the Contemporary Theater In addition, the plays and sonnets of William Shakespeare continue to set the standard for the study of the English language in its dramatic context in institutes of higher learning and performance training.
• Supernatural in “Macbeth” Play by Shakespeare The supernaturally manufactured predictions lure Macbeth and Banquo with the idea of power, leading Macbeth to plot the cruel murder of Duncan.
• “Macbeth” by William Shakespeare: Language and Tropes Typically, ‘the end of something means the onset of another.’ Using this as a viewpoint that provides a lead to what Macbeth is all about, the fact that ‘we will proceed no further in this […]
• Omens in The “Macbeth” Play by William Shakespeare The supernatural was an aspect of the plot structure used to add tension and drama to the occurrences and situations and manifested in various ways. To conclude, the owl and raven were utilized as omens […]
• Comparison of the Opening Scene of Macbeth by Orson Welles and The Tragedy of Macbeth by Roman Polanski The opening scene of The Tragedy of Macbeth starts with the words “fair is foul and foul is fair” that Polanski takes from the end of the Shakespeare’s scene.
• The “Macbeth” Film by Rupert Goold While Shakespeare’s play happened in the 11th century in Scotland, the movie’s design is more similar to the events of the 20th century. Corresponding to the era of the first half of the 20th century, […]
• Themes in the Tragedy of Macbeth by Shakespeare The character of Macbeth is used by Shakespeare to illustrate a man who lacks the strength of moral fiber under the affection of guilt and ambition.
• Analyzing the Adaptation of the Shakespeare’s “Macbeth” Furthermore, the names of all the characters in both films are the same except for a little twist in the spelling of names like Mcbeth and Mcduff.
• Shakespeare’s “Macbeth” and Sophocles’ “Oedipus” The idea of a person being in the center of the action and trying to overcome some problems connected with doom, fate and some other supernatural forces become peculiar to this kind of art.
• Characters’ Traits in Shakespeare’s Macbeth As weird as it might sound, Lady Macbeth is very emotional; as a matter of fact, the crimes that she committed can be attributed to her emotionality rather than her greed, though the latter has […]
• Power and Evocation of Horror: The Macbeth Witches’ Chant Among them are the rhymes, the rhythm of the words, the interpolation of a chorus, the increasing complexity of the lines as the poem progresses, and the vivid and horrifying imagery.
• The Play “Macbeth” by Shakespeare and the Film “Maqbool” by Bhardwaj Bhardwaj’s Maqbool is a great example of how the weather sets the tone for the story, it is not the backdrop in the film, but an active force expressing the psychological state of the characters.
• Concept of Power in Shakespeare’s “Macbeth” While The government is the system that makes laws and ensures that they are followed, it is the person who wields power who is responsible for the equality and impartiality of its enforcement.
• Jeffrey R. Wilson: Macbeth and Criminology The genre of tragedy used in Macbeth poses the question to the reader: who is responsible for committing a crime – the individual or the society?
• Intro to Theatre: “Macbeth” Shakespeare’s theatrical performances are widespread all over the world and do not lose their relevance, both due to the problems raised by the playwright and the various interpretations of his works. One of such plays is the production of Macbeth directed by Bodinetz (2020) and created by the troupe of Digital Theater +. The performance […]
• The Story of Macbeth by W. Sheakspeare: Relationship and Strengths Between Macbeth and His Wife Lady Macbeth reads a letter her husband had written about the witches’ prophecy and manipulates him to kill King Duncan and take over the kingdom.
• Shakespeare and His View on Kingship: Macbeth, King Lear and Othello At the same time, it is beyond doubt in the basement Macbeth’s character is clean and as a soldier, he is true to his job and his king.
• Representing the Heroic: Macbeth and Odysseus In Homer’s Odyssey, the noble nature of the hero is made clear in the way that his servants speak of him and strive to behave as he would expect.
• Emotions and Outward Actions in Shakespeare’s “Macbeth” In this regard, in William Shakespeare’s Macbeth, the relationship of inward emotions and outward actions is relevant in fully conveying the interplay of themes in this tragedy.
• Shakespearean Macbeth as a Tragic Hero In addition to fighting for his king, Macbeth is quickly and well rewarded for his efforts as King Duncan makes him the new Thane of Cawdor in addition to his already holding the title of […]
• Shakespear’s “Macbeth”: Main Character Change Analysis Macbeth is essentially the story of a character who lives his life in a state of confusion to the degree that the only constant in his life changes.
• Chaucer’s ‘Miller’s Tale’ and Shakespeare’s ‘Macbeth’ Chaucer’s The Miller’s Tale and in Shakespeare’s Macbeth, to be more exact, we will find out how the notion of poetic justice is represented by examples of the main characters of the works mentioned.
• An Explication on Shakespeare’s Macbeth However, Macbeth’s wife is murdered and the news is broken to him, and he is drifted into a life of futility and remorsefulness.
• Literary Elements in “Macbeth” Poem In addition, use of Symbolism imagery and symbolism creates a better picture in audience mind, concerning the themes that the play covers; such as where dark is used to represent evil.
• King Macbeth in Shakespeare’s Play and History He proved to be a courageous man and ambitious because he wanted to become the king, and the only way he could do it was by killing the king.
• Macbeth and Hamlet Characters Comparison The queens in Hamlet and Macbeth play a pivotal role in the life of the heroes of the play. She is portrayed as a mother who, in her awareness of Hamlet’s crisis, feels guilty and […]
• Macbeth: An Analysis of the Play by Shakespeare Macbeth’s treachery springs from his reliance to the witches who gave him prophecy that results in his endless creation of enemies.
• Oedipus King vs. Macbeth: Drama Comparison The concept reflects the foundation of the decent authority through showing the tendencies of power both in the ancient times and in the period of Renaissance.
• Drama Macbeth: Shakespeare’s Play and Wells’ Film However, the play communicates the meaning of the text in a better way as compared to the film by Orson Wells.
• Macbeth by Shakespeare and Oedipus by Sophocles Comparison In Act 1 Scene 3 of Macbeth, we have the three witches who greet him and inform him that he is to become the “Thane of Cawdor,” the title that he will receive that evening, […]
• Shakespeare Literature: Prophecy and Macbeth Morality The divination made by the witches pushes Macbeth further into immorality as he is made to believe that he deserves the position of king. In addition, Macbeth abandons reason and morality so as to make […]
• Macbeth Versions Comparison Film Analysis The use of classic settings in the design of the play helps in portraying the role that gangsters play in the original play of Macbeth and helps present it in the modern world.
• Philosophy of Literature: Shakespearean Tragedy In addition, it is also an indication of the facts that human beings are always nosy and ready to participate in other people’s issues.
• British Literature: Beowulf vs. Macbeth They are as follows: the presentation of the heroes, the consideration of the ethical themes, and the final stages of the plays the latter help to draw some ethical conclusions based on the peculiarity of […]
• The Ambitions and Immoral Decision in “Macbeth” by William Shakespeare
• Analyzing Macbeth’s Conscience Throughout Shakespeare’s Play “Macbeth”
• Murder and Power in William Shakespeare’s Play “Macbeth”
• Unprincipled Ambition in Shakespeare’s “Macbeth”
• Use of Supernatural to Create Suspense in Shakespeare’s “Macbeth”
• Psychological Victimization of William Shakespeare’s Protagonist in “Macbeth”
• Responsibility for Planning to Kill Duncan in William Shakespeare’s “Macbeth”
• Dramatic Techniques to Create a Sense That Macbeth Is Not in Control of His Own Thoughts and Deeds
• An Analysis of Jam-Packed With Malfeasance and Darkness in the Play “Macbeth” by Shakespeare
• The Application of Imagery in “Macbeth” by William Shakespeare
• Witches, Supernatural, and Evil in Shakespeare’s “Macbeth”
• The Banquet Scene of William Shakespeare’s “Macbeth”
• Analyzing Macbeth’s Weak Character in Shakespeare’s “Macbeth”
• Ambition Often Results in Greed as Portrayed in Shakespeare’s “Macbeth”
• Psychoanalytical Criticism of Shakespeare’s “Macbeth”
• Women as The Driving Action of the Play in “Macbeth” by William Shakespeare
• William Shakespeare’s Manipulation of the Audience Through “Macbeth”
• Suspense and the Supernatural in “Macbeth” by William Shakespeare
• Sharing the Blame in Shakespeare’s “Macbeth”
• Macbeth’s Tragic Downfall in William Shakespeare’s “Macbeth”
• The Characterization of Macbeth in Relation to the Development of Scotland in “Macbeth” by William Shakespeare
• Role Reversal in William Shakespeare’s Play “Macbeth”
• The Butcher and His Fiend Like Queen in William Shakespeare’s “Macbeth”
• Supernatural Forces Create a Suspense Atmosphere in Shakespeare’s “Macbeth”
• The Archetypal Tragic Hero Characteristics of William Shakespeare’s “Macbeth” and Sophocles’ “Oedipus”
• An Analysis of Macbeth as a Victim of Circumstances in “Macbeth” by William Shakespeare
• Power, Ambition, and Treason in William Shakespeare’s “Macbeth”
• The Breakdown of Lady Macbeth in William Shakespeare’s “Macbeth”
• Unbridled Ambition in Shakespeare’s “Macbeth”
• The Art of Appeasement and the Political, Religious, and Social Issues Reflected in Shakespeare’s “Macbeth”
• Parallels Between Macbeth and Satan in “Macbeth” by William Shakespeare
• Some of the Ways in Which Shakespeare Portrays an Atmosphere of Evil in “Macbeth”
• An Analysis of Lady Macbeth’s Character in “Macbeth” by Shakespeare
• The Blood Imagery in “Macbeth” by William Shakespeare
• Macbeth’s Representation of Ambition in William Shakespeare’s “Macbeth”
• The Attract of Wicked in Shakespeare’s “Macbeth”
• The Manipulations, Greed, and Guilt in William Shakespeare’s Play “Macbeth”
• Stereotypical Images of Women in “Macbeth” by Shakespeare
• Symbolism and Imagery in “Macbeth” by William Shakespeare
• Subjective Reality to the Viewer in the Play “Macbeth” by William Shakespeare
• The Betrayal of Human Nature in “Macbeth” by William Shakespeare
• Treatment of Gender Disruption in William Shakespeare’s “Twelfth Night” and “Macbeth”
• Significance of Act Four Scene One in William Shakespeare’s “Macbeth”
• Role of Women in “Macbeth” by William Shakespeare
• Recurring Images in “Macbeth” by William Shakespeare
• Similarities Between the Philosophies From Machiavelli’s “The Prince” and Shakespeare’s “Macbeth”
• The Aristotelian Standards of a Tragic Hero in the Tragedy of “Macbeth” by William Shakespeare
• Struggles of the Conscience in “Macbeth” by William Shakespeare
• The Battle Between Good and Evil in Shakespeare’s “Macbeth”
• Sleep and Its Meaning in “Macbeth” by William Shakespeare
• Relationship Between Spouses in “Macbeth” by William Shakespeare
• A Musical Analysis of “Macbeth” by William Shakespeare
• What Did Macbeth’s Character, Words, and Actions Show About Changes in His Character?
• Who Are the Women in Shakespeare’s “Macbeth”?
• When Power Falls Into the Wrong Hands in “Macbeth”?
• Why Are the Period and Place Important in “Macbeth”?
• What Makes William Shakespeare’s “Macbeth” a Pessimistic Play?
• How Ambitions and Immoral Decision Play a Part in Shakespeare’s “Macbeth”?
• How and Why Does Macbeth Turn a War Hero Into an Evil Murderer?
• Did the Three Witches Push Macbeth to Kill Duncan?
• What Are the Attitudes Towards Gender Can Be Seen in Shakespeare’s “Macbeth”?
• What Part Does the Supernatural Play in “Macbeth”?
• Was Macbeth Responsible for His Downfall?
• Does Shakespeare Present Lady Macbeth as Good or Evil?
• Can One Feel Pity for Shakespeare’s “Macbeth”?
• What Dramatic Techniques Are Used in Shakespeare’s “Macbeth”?
• How Did Lady Macbeth and Macbeth’s Relationship Change Throughout the Play?
• What Did Macbeth Say About Good and Evil?
• Does Shakespeare Present Lady Macbeth as Fiend-Like?
• Does Macbeth Have Power?
• How Did Macbeth Turn From “Nobel Macbeth” to “A Bloody Butcher”?
• What Does Shakespeare’s “Macbeth” Have to Say About Kingship?
• Did Macbeth Suffer From Fate?
• What Are the Character Traits of Lady Macbeth?
• Does Macbeth Have Free Will?
• What Are the Influences of the Witches’ Prophecies on Macbeth’s Actions?
• How Are the Themes of Appearance and Reality Presented in “Macbeth”?
• How Are Characters Presented as Disturbed in “Macbeth”?
• Was Macbeth Considered the Tragic Hero of the Play?
• How Did Lady Macbeth and Witches Change?
• What Are the Differences and Similarities Between “Medea” and “Macbeth” Plays?
• What Factors Lead Macbeth to Kill Duncan?
• Allegory of the Cave Topics
• Tuesdays With Morrie Questions
• Their Eyes Were Watching God Ideas
• The Things They Carried Questions
• The Yellow Wallpaper Ideas
• The Pearl Essay Titles
• The Other Wes Moore Paper Topics
• A Rose for Emily Research Topics
• Chicago (A-D)
• Chicago (N-B)

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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. 

Thanks for reading! If you find this resource useful, you can take a look at our full online Macbeth course here . Use the code “SHAKESPEARE” to receive a 50% discount!

This course includes: 

• A full set of video lessons on each key element of the text: summary, themes, setting, characters, context, attitudes, analysis of key quotes, essay questions, essay examples
• Downloadable documents for each video lesson 
• A range of example B-A* / L7-L9 grade essays, both at GCSE (ages 14-16) and A-Level (age 16+) with teacher comments and mark scheme feedback
• A bonus Macbeth workbook designed to guide you through each scene of the play!

For more help with Macbeth and Tragedy, read our article here .

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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Home — Essay Samples — Literature — Plays — Macbeth

Essays on Macbeth

Hook examples for "macbeth" essays, the ambition that consumes hook.

Explore the theme of unchecked ambition in "Macbeth" and how it leads to the tragic downfall of the main character. Discuss Macbeth's relentless pursuit of power and its consequences.

The Supernatural and Witches' Prophecies Hook

Highlight the role of the supernatural in "Macbeth" and the influence of the witches' prophecies on Macbeth's actions. Discuss the themes of fate, free will, and manipulation.

The Transformation of Lady Macbeth Hook

Examine the character of Lady Macbeth and her transformation from a ruthless instigator to a guilt-ridden figure. Discuss her role in Macbeth's descent into madness.

The Tragic Hero's Fatal Flaw Hook

Analyze Macbeth as a tragic hero and his fatal flaw of ambition. Discuss how his character aligns with Aristotle's definition of tragic heroes and why audiences sympathize with him despite his actions.

The Symbolism of Blood Hook

Explore the recurring motif of blood in "Macbeth" and its symbolism. Discuss how blood represents guilt, violence, and the consequences of immoral deeds throughout the play.

The Role of Kingship Hook

Discuss the theme of kingship in "Macbeth" and how the desire for the throne drives the characters' actions. Examine the contrast between good and bad kingship as portrayed in the play.

The Power of Manipulation Hook

Highlight the manipulative tactics used by characters like Lady Macbeth and the witches to influence Macbeth's decisions. Discuss how manipulation is a central theme in the play.

The Political and Social Context Hook

Provide historical and social context for "Macbeth" by discussing the political turmoil and societal expectations of Shakespearean England, which influenced the play's themes and characters.

The Relevance of "Macbeth" Today Hook

Connect the themes of "Macbeth" to contemporary issues, such as the corrupting influence of power, ambition in politics, or the consequences of moral compromises. Explain how the play remains relevant today.

The Lessons of Tragedy Hook

End your essay by reflecting on the lessons and universal truths that "Macbeth" conveys. Discuss the enduring impact of Shakespeare's exploration of human nature and ambition.

William Shakespeare's Passion in Macbeth

The theme of appearance vs reality in macbeth, made-to-order essay as fast as you need it.

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The Two Faces of Macbeth

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The Tragic Downfall of Macbeth in William Shakespeare's Macbeth

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Macbeth Motif of Sleep

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1623, William Shakespeare

Play/ Shakespearean tragedy

Lady Macbet, Macduff, Macbeth, Banquo, Duncan, Malcolm, Three Witches

Ambition, Light and Darkness, Loyalty, Sleep, Blood

The story follows the protagonist, Macbeth, a noble and loyal soldier, who becomes consumed by his ambition for power. Encouraged by the prophecies of three witches and his wife, Lady Macbeth, Macbeth plots to seize the throne by any means necessary. Driven by his unchecked ambition, Macbeth commits regicide, killing King Duncan and usurping the crown. However, the guilt and paranoia from his actions torment him, leading to a descent into madness. As Macbeth's tyrannical rule continues, he becomes increasingly isolated and haunted by his guilt, leading to a series of tragic consequences. Macbeth's reign is challenged by a rebellion led by nobleman Macduff, who seeks to restore order and justice. In a final battle, Macbeth confronts Macduff and learns that the witches' prophecies have been cunningly misleading. Defeated and facing his inevitable demise, Macbeth displays a moment of remorse and accepts his tragic fate.

Set in medieval Scotland, the play Macbeth by William Shakespeare takes place in a world of castles, battlefields, and supernatural elements. The setting plays a crucial role in creating the dark and foreboding atmosphere that permeates the story. The majority of the action occurs in various locations, including Macbeth's castle, the royal palace, and the battlefield. The eerie and mysterious ambiance is enhanced by the presence of supernatural elements, such as the three witches who appear in desolate landscapes like heath and caverns. These supernatural occurrences contribute to the overall sense of uncertainty and the blurred boundaries between reality and illusion. Additionally, the setting reflects the political and social context of the time, where power struggles and the desire for dominance were prevalent. The castles represent both security and confinement, as characters navigate the treacherous corridors of power. The battlefield scenes underscore the brutal nature of war and the consequences of ambition.

Symbolism (the dagger, the owl), imagery, dramatic irony, paradoxes ("fair is foul and foul is fair").

Macbeth, one of William Shakespeare's most renowned plays, has had a profound influence on literature, theater, and even popular culture. Its enduring impact can be observed through various adaptations, references, and reinterpretations over the centuries. One significant aspect of Macbeth's influence lies in its exploration of human ambition, moral corruption, and the consequences of unchecked power. These themes continue to resonate with audiences, offering insights into the complexities of human nature and the allure and perils of ambition. The play's exploration of the corrupting influence of power has influenced subsequent works, serving as a cautionary tale and a source of introspection. Macbeth's language and poetic imagery have also left an indelible mark on literature. Shakespeare's evocative descriptions, powerful soliloquies, and memorable quotes, such as "Out, damned spot!" and "Double, double toil and trouble," have become iconic and continue to be referenced and admired. Furthermore, Macbeth has influenced various artistic mediums beyond the stage. It has inspired numerous film adaptations, theatrical productions, and operas, showcasing its enduring appeal and ability to resonate with diverse audiences. The play's exploration of themes like guilt, ambition, and fate has provided fertile ground for reinterpretation and exploration in different cultural contexts.

“Fair is foul, and foul is fair.” "False face must hide what the false heart doth know." “What! can the devil speak true?” “I bear a charmed life, which must not yield, To one of woman born.” “I dare do all that may become a man; Who dares do more is none.”

1. Macbeth is one of Shakespeare's shortest plays, consisting of only about 2,108 lines. Despite its brevity, it is packed with intense drama, complex characters, and profound themes, making it a gripping and impactful work. 2. The play features a significant number of supernatural elements, including the famous three witches who prophesy Macbeth's rise and downfall. These supernatural elements contribute to the eerie atmosphere and the exploration of themes such as fate, free will, and the consequences of one's actions. 3. Macbeth is known for its high body count. Throughout the play, numerous characters meet their demise, including King Duncan, Banquo, Lady Macduff, and Macbeth himself. The portrayal of violence and its consequences adds to the play's dark and tragic nature, highlighting the destructive power of unchecked ambition.

Shakespeare's Macbeth is a play of enduring significance that continues to captivate audiences and scholars alike. Exploring themes of ambition, power, guilt, and the corrupting nature of unchecked ambition, Macbeth delves into the darkest corners of the human psyche. Writing an essay about Macbeth provides an opportunity to delve into the complexities of character development, dramatic tension, and the profound insights into human nature that Shakespeare masterfully weaves throughout the play. The exploration of Macbeth's tragic downfall, driven by his unchecked ambition and the manipulation of supernatural forces, raises thought-provoking questions about the human condition and the consequences of moral transgressions. Moreover, Macbeth offers a rich tapestry of literary techniques and devices, including vivid imagery, soliloquies, and dramatic irony, which provide ample material for in-depth analysis and critical interpretation. Through the study of Macbeth, one can gain a deeper understanding of Shakespeare's artistry, the power of language, and the timeless themes that continue to resonate with contemporary audiences.

1. Kranz, D. L. (2003). The Sounds of Supernatural Soliciting in “Macbeth.” Studies in Philology, 100(3), 346–383. (https://www.jstor.org/stable/4174762) 2. Carr, S., & Knapp, P. (1981). Seeing through Macbeth. PMLA, 96(5). (https://www.cambridge.org/core/journals/pmla/article/abs/seeing-through-macbeth/D4761FAB007DD207E240598D876BFA56) 3. Roberts, J.A. (2002). Sex and the Female Tragic Hero. In: Liebler, N.C. (eds) The Female Tragic Hero in English Renaissance Drama. Palgrave Macmillan, New York. (https://link.springer.com/chapter/10.1007/978-1-137-04957-5_10) 4. Bristol, M. (2011). Macbeth the Philosopher: Rethinking Context. New Literary History 42(4), 641-662. (https://muse.jhu.edu/pub/1/article/465746/summary) 5. Gaskill, M. (2008). Witchcraft and evidence in early modern England. Past and Present, 198(1). (https://academic.oup.com/past/article-abstract/198/1/33/1514400) 6. GASKILL, M. (2008). THE PURSUIT OF REALITY: RECENT RESEARCH INTO THE HISTORY OF WITCHCRAFT. The Historical Journal, 51(4), 1069-1088. (https://www.cambridge.org/core/journals/historical-journal/article/abs/pursuit-of-reality-recent-research-into-the-history-of-witchcraft/41B06ED6E083CF7F5C0173ACE805C1A2) 7. Booth, W. C. (1951). MACBETH AS TRAGIC HERO. The Journal of General Education, 6(1), 17–25. (https://www.jstor.org/stable/27795368) 8. M a Sandra Peña Cervel (2010) Macbeth Revisited: A Cognitive Analysis, Metaphor and Symbol, 26:1 (https://www.tandfonline.com/doi/abs/10.1080/10926488.2011.535412) 9. Cheung, K.-K. (1984). Shakespeare and Kierkegaard: “Dread” in Macbeth. Shakespeare Quarterly, 35(4), 430–439. (https://www.jstor.org/stable/2870162)

Relevant topics

• Macbeth Ambition
• Macbeth Guilt
• Romeo and Juliet
• A Raisin in The Sun
• Of Mice and Men
• In The Time of The Butterflies
• Their Eyes Were Watching God
• William Shakespeare

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Macbeth Key Theme: Ambition ( AQA GCSE English Literature )

Revision note.

English Senior Content Creator

Ambition in Macbeth

Although it is important to stress that Shakespeare explores many other themes in Macbeth, and that you should aim to revise those other themes in some detail, it can be argued that, at heart, Macbeth as a play is an exploration of ambition and its consequences. On this page you will find a summary of how Shakespeare explores ambition in Macbeth, and also tips on how to answer an exam question on the theme of ambition.

How does Shakespeare present ambition in Macbeth? When we talk about “ambition” in Macbeth, we are not talking about a desire to do something or determination to succeed towards a set goal. Instead, we should understand ambition in the play as a negative character trait: not just a desire to achieve something, but an unnatural desire to achieve something at any cost.  Indeed, Shakespeare has Macbeth speak the lines “vaulting ambition, which o’erleaps itself” in Act I, Scene VII. “Vaulting” means jumping over, suggesting that Macbeth, in order to achieve his ambition (to become king), knows that he must overcome an obstacle that stands in his way. This obstacle is King Duncan, and the only way to remove this obstacle is to murder him. To murder a king was a shocking, unnatural act in Jacobean  England (for more on Jacobean society and its beliefs, see our Macbeth: Context page), but Macbeth is prepared to commit regicide  to realise his ambition. Ultimately, the cost he will pay for his ambition is his own life.

Below you will find a summary of the ways in which Shakespeare explores the theme of ambition in Macbeth. For more detailed revision notes on ambition, please see the Macbeth: Themes page.

Ambition is Macbeth’s fatal character flaw, his hamartia:

In tragedy , a tragic hero  must have a tragic flaw

In Macbeth, as in most tragedy, the tragic hero’s hamartia is the cause of their own downfall:

Macbeth’s ambition to gain, and retain, the throne leads to him committing more and more evil acts

Other characters seek revenge for these acts of murder

Macbeth’s own conscience also begins to terrorise him

Ultimately, a combination of his own mental disintegration and avenging heroes sees him killed by the hand of Macduff

At heart, Shakespeare is presenting a morality play to the audience:

Allow yourself to be consumed by ambition, or hubris , and prepare to suffer dire consequences

It can also be seen as a warning against those who seek to undermine – or overthrow – the rule of a rightful king:

Shakespeare may also be suggesting that those unaccustomed and undeserving of power will be destroyed by it

Shakespeare is suggesting that kings are legitimate rulers, but tyrants  are not

Answering an exam question on ambition in Macbeth

In order to get top marks for your essay, it is very important that you know the format and requirements of the exam paper, and the nature of the exam question. It is also vital that you know how to plan an answer in the Shakespeare exam, and are aware of what you need to include to get the highest grade. In this section you will find:

an overview of the exam

a plan for a question on ambition

an ambition essay model paragraph

Overview of the Shakespeare Exam

Your Shakespeare question would be part of Section A of Paper 1 of your GCSE

The essay is worth 34 marks: 30 for the quality of your essay, and 4 for the level of your spelling, punctuation and grammar

In your question paper, you will find an extract from the text of Macbeth and only one question

You must answer the question that is set and refer to the extract, but also the rest of the play

This is challenging because the exam is what’s called “closed-book”, meaning that you will not have access to a copy of the text (other than the printed extract) in your exam

Therefore, in order to refer to the play as a whole, it is important to:

revise the plot of the play 

revise some selected quotations from different parts of the play

For a much more detailed guide on answering the Macbeth question, please see our revision notes on How to Answer the Shakespeare Essay Question .

Plan for a question on ambition in Macbeth

Below you will find a template for a plan for the following exemplar question on ambition. It is always worthwhile spending a good deal of time planning an answer at GCSE, with examiners repeatedly reporting that the highest marks are awarded to those students who have clearly set aside time to plan their essays. For more information on planning a response, and approaching the Shakespeare question in general, see our comprehensive revision notes here .

Exemplar question

‘Macbeth’s ambition proves to be his downfall’

Starting with this moment in the play, explore how far you agree with this view.

Write about:

How Shakespeare presents Macbeth’s ambition in this extract

How far Shakespeare presents Macbeth’s ambition as the reason for his downfall in the play as a whole

AO4 [4 marks]

Act I, Scene VII

Macbeth is contemplating whether or not to go through with the plan to murder King Duncan

   If it were done when 'tis done, then 'twere well

   It were done quickly: if the assassination

   Could trammel up the consequence, and catch

   With his surcease success; that but this blow

   Might be the be-all and the 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 judgment here; that we but teach

   Bloody instructions, which, being taught, return

   To plague the inventor: this even-handed justice

   Commends the ingredients of our poison'd chalice

   To our own lips. 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. Besides, this Duncan

   Hath borne his faculties so meek, hath been

   So clear in his great office, that his virtues

   Will plead like angels, trumpet-tongued, against

   The deep damnation of his taking-off;

   And pity, like a naked new-born babe,

   Striding the blast, or heaven's cherubim, horsed

   Upon the sightless couriers of the air,

   Shall blow the horrid deed in every eye,

   That tears shall drown the wind. I have no spur

   To prick the sides of my intent, but only

   Vaulting ambition, which o'erleaps itself

   And falls on the other.

Ambition in Macbeth Essay Model Paragraph

Despite the fact that Macbeth is clearly aware of the dire religious consequences of regicide, his ambition means he proceeds with the murder of King Duncan anyway, indicating that his ambition overrides all other sensibilities. In this scene, Shakespeare uses the semantic fields of religion throughout Macbeth’s soliloquy: he refers to “Heaven”, “cherubin” and “angels”, as well as “damnation”. Ostensibly, this language is being used because Macbeth is discussing King Duncan’s prospective life after death. However, it could also be argued that this language betrays Macbeth’s own acknowledgement that committing the planned act of regicide (a mortal sin in the Jacobean era) will instead send him to eternal “damnation”. Indeed, later on in the play, Shakespeare has Macbeth speak the lines: “That summons thee to Heaven, or to Hell”, again, on the face of it referring to Duncan’s passage to the afterlife, but in reality speaking about his own fate. Indeed, both Macbeth and Lady Macbeth use the language of Heaven and Hell throughout Act I and the beginning of Act II, suggesting that they are both – on a subconscious level at least – mortally concerned for their future should they commit the sacrilegious act of murdering a sitting monarch. It can be argued that the regicide of King Duncan is the catalyst for Macbeth’s ultimate downfall. In terms of tragedy, this is the inciting incident, after which a tragic hero’s fate is sealed. Therefore, the language that Shakespeare has Macbeth use prior to the murder is very illuminating. Before the murder, Macbeth admits in this soliloquy that – despite the acknowledgement of his own eternal punishment – that it is “only vaulting ambition” which is tempting him to overthrow the king. This is indeed Macbeth himself identifying that his ambition is the “only” reason that he himself identifies to commit the murder, and by extension, it is his ambition that sets the wheels in motion for his ultimate demise.

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Author: Nick Redgrove

Nick is a graduate of the University of Cambridge and King’s College London. He started his career in journalism and publishing, working as an editor on a political magazine and a number of books, before training as an English teacher. After nearly 10 years working in London schools, where he held leadership positions in English departments and within a Sixth Form, he moved on to become an examiner and education consultant. With more than a decade of experience as a tutor, Nick specialises in English, but has also taught Politics, Classical Civilisation and Religious Studies.