Macbeth as a Violent character:
Shakespeare presents Macbeth as a character ridden with predominate violent
instincts. In the extract, the Captain celebrates Macbeth’s violent quashing of a
rebellion against King Duncan. Later, we see Macbeth initially unwilling to behave
violently, however, his own ‘vaulting ambition’ seems to countermand his morality as
he relents and murders Duncan. After becoming king, Macbeth delegates violence to
hired murderers and as a result, is at the fault of a series of killings. Finally, we
witness how Macbeth’s tyranny provokes an invasion and consequently induces his
treacherous demise. Shakespeare shows that Macbeth’s violence in defence of
Scotland is celebrated yet his violence for his own, illegitimate, ends is condemned
and dishonoured.
In the extract, Shakespeare shows how the Captain celebrates Macbeth’s violent
mannerisms, creating a favourable and reputable impression of the Thane Of Glamis
before he makes an entrance onto the stage. The captain condemns Macdonald for
being ‘like a rebel’s whore’. This insulting and almost degrading simile emphasises
the immorality and fear detained from Macdonald which effectively provides a
juxtaposition to virtuous Macbeth. The Captain then praises Macbeth’s resolute rage
and violence, while portraying him as single-handedly winning the battle, recounting
that his sword ‘smok’d with bloody execution’. This evocative, and slightly disturbing
imagery combines both liquid blood and raging fire to suggest that the blood of the
antagonist seemed to burn on Macbeth’s sword, which simultaneously connotates a
semantic field of hell, thus foreshadowing Macbeth’s later transgression and demise
into the abyss of treachery and violence. The final moment seems almost distressing
and repulsive as Macbeth ‘unseam’d’ Macdonald ‘from the nave to th’chaps’. Again,
the Captain emphasises Macbeth’s almost holy strength and also seeks to present
Macdonald with a sense of negativity and disreputability as his death is evidently one
of shame and predisposed ridicule- an obvious traitor’s death. It is clear that for the
Captain and his royal audience, and indeed Shakespeare’s audience in The Globe,
Macbeth’s violence is to be applauded due to its domain being in defence of his
nation and his legitimate monarch.
Later, Shakespeare presents Macbeth as a character utilising violence to fulfil his
ambition. Macbeth is initially reluctant to kill Duncan, withholding a austere moral
compass, and only the aggressive mockery of his wife, who views his reluctance as
a possession of feminine weakness, persuades him to ‘do all that may become a
man’. This emphasises the effectiveness of Lady Macbeth’s mockery; Macbeth
clearly rejects the impression of effeminacy. Moments after killing the king, Macbeth
tells us he was unable to join the grooms in earnest prayer, stating ‘I could not say
Amen’ and that the words of plea for forgiveness were ‘stuck in’ his ‘throat’. This
suggests that, with acknowledgment to the sinful nature of regicide, Macbeth begins
to distance himself from the possibility of redemption and forgiveness offered by
Christian belief. After committing murder, Macbeth wrestles with his guilt and
desperately attempts to wash the blood, being a recurring symbol of guilt, wondering
if ‘all great Neptune’s ocean’ may suffice to ridding his mind of culpability and guilt.
This hyperbole emphasises Macbeth’s fear that the stain of his sin, serving as a
recurring reminder of his wrongdoings, will be a prominent part of his soul and
demeanour. In fact, in the era of belief of the divine right of Kings, many in
Shakespeare’s original audience would have believed that the murder of the
Shakespeare presents Macbeth as a character ridden with predominate violent
instincts. In the extract, the Captain celebrates Macbeth’s violent quashing of a
rebellion against King Duncan. Later, we see Macbeth initially unwilling to behave
violently, however, his own ‘vaulting ambition’ seems to countermand his morality as
he relents and murders Duncan. After becoming king, Macbeth delegates violence to
hired murderers and as a result, is at the fault of a series of killings. Finally, we
witness how Macbeth’s tyranny provokes an invasion and consequently induces his
treacherous demise. Shakespeare shows that Macbeth’s violence in defence of
Scotland is celebrated yet his violence for his own, illegitimate, ends is condemned
and dishonoured.
In the extract, Shakespeare shows how the Captain celebrates Macbeth’s violent
mannerisms, creating a favourable and reputable impression of the Thane Of Glamis
before he makes an entrance onto the stage. The captain condemns Macdonald for
being ‘like a rebel’s whore’. This insulting and almost degrading simile emphasises
the immorality and fear detained from Macdonald which effectively provides a
juxtaposition to virtuous Macbeth. The Captain then praises Macbeth’s resolute rage
and violence, while portraying him as single-handedly winning the battle, recounting
that his sword ‘smok’d with bloody execution’. This evocative, and slightly disturbing
imagery combines both liquid blood and raging fire to suggest that the blood of the
antagonist seemed to burn on Macbeth’s sword, which simultaneously connotates a
semantic field of hell, thus foreshadowing Macbeth’s later transgression and demise
into the abyss of treachery and violence. The final moment seems almost distressing
and repulsive as Macbeth ‘unseam’d’ Macdonald ‘from the nave to th’chaps’. Again,
the Captain emphasises Macbeth’s almost holy strength and also seeks to present
Macdonald with a sense of negativity and disreputability as his death is evidently one
of shame and predisposed ridicule- an obvious traitor’s death. It is clear that for the
Captain and his royal audience, and indeed Shakespeare’s audience in The Globe,
Macbeth’s violence is to be applauded due to its domain being in defence of his
nation and his legitimate monarch.
Later, Shakespeare presents Macbeth as a character utilising violence to fulfil his
ambition. Macbeth is initially reluctant to kill Duncan, withholding a austere moral
compass, and only the aggressive mockery of his wife, who views his reluctance as
a possession of feminine weakness, persuades him to ‘do all that may become a
man’. This emphasises the effectiveness of Lady Macbeth’s mockery; Macbeth
clearly rejects the impression of effeminacy. Moments after killing the king, Macbeth
tells us he was unable to join the grooms in earnest prayer, stating ‘I could not say
Amen’ and that the words of plea for forgiveness were ‘stuck in’ his ‘throat’. This
suggests that, with acknowledgment to the sinful nature of regicide, Macbeth begins
to distance himself from the possibility of redemption and forgiveness offered by
Christian belief. After committing murder, Macbeth wrestles with his guilt and
desperately attempts to wash the blood, being a recurring symbol of guilt, wondering
if ‘all great Neptune’s ocean’ may suffice to ridding his mind of culpability and guilt.
This hyperbole emphasises Macbeth’s fear that the stain of his sin, serving as a
recurring reminder of his wrongdoings, will be a prominent part of his soul and
demeanour. In fact, in the era of belief of the divine right of Kings, many in
Shakespeare’s original audience would have believed that the murder of the
