Introduction to the Tragedy

Macbeth, also known as The Scottish Tragedy or The Bloody Tragedy, is one of
Shakespeare’s darkest and most iconic plays. Blood is a recurring motif—words like “blood,”
“bloody,” and “bleed” are repeated often, underlining the theme of violent ambition. The line
“Blood will have blood” (Act III, Scene IV) encapsulates the inevitability of vengeance.

Actors have long considered Macbeth an unlucky play. Productions have suffered accidents,
fires, even real murders. One infamous incident involved an actress playing Lady Macbeth
falling into the orchestra pit after performing with her eyes closed during the sleepwalking
scene.

The play’s tragic flaw is ambition, as highlighted in Macbeth’s reflection: “I have no spur to
prick the sides of my intent but only vaulting ambition…” (Act I, Scene VII). Another major
theme is sleep—its absence, metaphors, and the psychological torment caused by
sleeplessness. The Weird Sisters’ curse condemns the characters to insomnia, symbolizing
guilt and foreboding.

Political Dimensions and Historical Context

The play is deeply political. Written between 1603–1605, probably to honor James I
(performed in 1606), it reflects his Scottish heritage and obsession with witchcraft—he even
authored a book called Demonologiae. Shakespeare sets the story in Scotland and alludes
to contemporary events like the Gunpowder Plot of 1605. England is portrayed as a place of
redemption, aligning with James’s vision of a unified British monarchy.

The historical Macbeth (King of Scotland from 1040 to 1057) actually ruled effectively.
Shakespeare, drawing from Raphael Holinshed’s Chronicle, alters the facts to flatter James
I. In Holinshed’s account, Duncan is weak and Macbeth a good king—Shakespeare flips this
to serve royal propaganda.

The Plot

Act I: After defeating a Norwegian invasion and a traitorous Thane of Cawdor, Macbeth and
Banquo meet three witches who hail Macbeth as future king and predict Banquo’s
descendants will be kings. Macbeth is granted the title of Thane of Cawdor, fulfilling part of
the prophecy. Encouraged by Lady Macbeth, he invites King Duncan to his castle and plots
his murder.

Act II: Macbeth kills Duncan. The king’s sons flee, fearing for their lives, and suspicion
begins to rise around Macbeth.

Act III: Macbeth, haunted by the prophecy about Banquo’s heirs, has Banquo murdered.
However, Banquo’s son Fleance escapes. Banquo’s ghost haunts Macbeth at a banquet.

Act IV: Macbeth consults the witches again. They warn him to beware Macduff and say he
cannot be harmed by anyone “born of woman” and that he will remain unvanquished until
Birnam Wood comes to Dunsinane. Macbeth has Macduff’s family killed.
Act V: Lady Macbeth, tormented by guilt, sleepwalks and tries to wash imaginary blood from
her hands. Malcolm, Duncan’s son, marches on Macbeth’s castle. His troops camouflage
with Birnam Wood branches, fulfilling the witches’ prophecy. Macduff, who was delivered via
Caesarean section (thus not "born of woman"), kills Macbeth. Malcolm is proclaimed king.

The Weird Sisters

The play opens with the supernatural: the Weird Sisters. They are not explicitly called
witches, and their name “weird” comes from “wyrd,” meaning fate. They are ambiguous,
bearded, and speak in riddles. They don’t command Macbeth but allow him to interpret
prophecies in the most self-serving way. Their speech is hypnotic and ambiguous,
contributing to the play’s atmosphere of uncertainty.

The Character of Macbeth

At the beginning, Macbeth is portrayed as a heroic soldier—brave, loyal, and patriotic. Yet
his ambition, stoked by the witches and his wife, begins to dominate him. Lady Macbeth
doubts his resolve, calling him too “full o’ the milk of human kindness.” She manipulates him
with taunts to prove his masculinity.

When Macbeth hesitates to kill Duncan, Lady Macbeth pushes him, even saying she would
kill her own child if she had sworn to do so. Macbeth agrees and resolves to hide his
treachery with false appearances.

After the murder, Macbeth is deeply affected: he hears voices and feels he has murdered
sleep. His guilt is profound, while Lady Macbeth remains composed—her breakdown comes
later.

Lady Macbeth: Ambition and Decline

Lady Macbeth wants to abandon her femininity to gain power. She invokes evil spirits to
“unsex” her and fill her with cruelty. She’s the driving force behind Duncan’s murder, mocking
her husband’s fears and even saying she would kill her own baby if necessary.

After the murder, she handles the situation: returns the daggers and implicates Duncan’s
servants. However, as Macbeth grows colder and more ruthless, Lady Macbeth’s strength
begins to unravel. She is plagued by guilt, symbolized in her obsessive hand-washing and
sleepwalking. Freud analyzed her character as someone who could not handle the fulfillment
of her desires.

Role Reversals and Psychological Collapse

Initially, Macbeth is fearful and hesitant; Lady Macbeth is bold. After Duncan’s murder, their
roles reverse: Macbeth becomes unfeeling and power-hungry, while Lady Macbeth is
consumed by guilt and emotion.
The killing of Banquo and appearance of his ghost mark Macbeth’s descent into madness.
He no longer confides in Lady Macbeth. She, in turn, pretends to faint to cover his erratic
behavior.

Macbeth becomes obsessed with the witches’ prophecies and seeks them out again. They
give him false confidence with their cryptic messages. He interprets them as proof of his
invincibility—an error that leads to his downfall.

Symbolism and Themes

The witches’ second visit involves grotesque spells and apparitions: an armed head
(Macduff), a bloody child (no one born of woman can harm Macbeth), and a child crowned
with a tree (Birnam Wood coming to Dunsinane). These visions mislead Macbeth into false
security.

Lady Macbeth’s madness echoes her husband’s earlier guilt. She becomes a mirror of him,
embodying the consequences of their shared ambition. Her sleepwalking scene reveals her
inner torment, and she ultimately commits suicide.

In contrast, Macbeth becomes numb: “I have almost forgot the taste of fears.” His final
monologue—“Tomorrow, and tomorrow, and tomorrow…”—expresses his nihilistic view of
life as meaningless, “a tale told by an idiot, full of sound and fury, signifying nothing.”

Macbeth’s Fall

Macbeth’s overconfidence collapses when he realizes the witches’ prophecies were

In his final moments, Macbeth returns to the bravery of Act I, fighting Macduff even as he
realizes he’s been tricked. Macduff beheads him, and Malcolm is crowned king—a hopeful
ending, implying order has been restored.

Cultural References

Macbeth has influenced modern culture extensively. For example, the TV show House of
Cards draws from the play: Frank Underwood mirrors Macbeth, while Claire embodies Lady
Macbeth’s ambition and manipulation. Lady Macbeth has also inspired visual depictions, like
Queen Elinor in Brave or Ellen Terry’s famous portrayal in 1888.