Macbeth Analysis Flashcards
(21 cards)
“I am in blood/ Stepp’d in so far that should I wade no more, returning were as tedious”
-Macbeth, Act 3
-Themes: violence and guilt
“wade” has biblical allusions
-similar to Cain in the Book of Genesis who commits the first murder in the Bible, the irreversible act of murder results in punishment by God
-Macbeth’s metaphorical wading in blood exemplifies how he knows his conscience in permanently stained with guilt as a result of his violence
motif of blood - reccurring symbol for the consequences of murder
-previously the “blood” was just on his hands, now it is enrobing his entire body and his entire sense of being
-Macbeth’s response to fear and guilt has transitioned from being horrified to indulging in further heinous acts - murder now becomes his means of self-preservation
“so foul and fair a day I have not seen”
-Macbeth, Act 1
-Themes: the supernatural
emulating the witches’ paradoxes before he encounters them
-foreshadows how he will become a vessel for their twisted misconduct from the start of the play
-could suggest that he has a predisposed vulnerability to manipulation and deception, especially from the supernatural
-the supernatural forces catalyse his downfall
“have not seen” - evokes a vivid image of blindness
-foreshadows how he will be metaphorically blinded by the irrestistable allure of the supernatural prophecies
-blindness foreshadows how his unchecked hubris becomes a driving force leading him astray
“Stars hide your fires, let no light see my black and deep desires”
-Macbeth, Act 4
-Themes: appearance vs reality and guilt
dark and light imagery
-contrast between “black” and “light” highlights Maceth’s dichotomous (spit in two) character
- he hides his sinister motives in metaphorical darkness, if his true intentions came to “light” this would stop him from acquiring his legitimate title of king
rhyming couplet “desires” and “fires”
-resembles the enchanting spellcasting technique employed by the witches who also use rhyming couplets
-emphasises Macbeth’s descent into a shadowy and malevolent tragectory
“With Tarquin’s ravishing strides, towards his design”
-Macbeth, Act 2
-Themes: ambition and gender
connotations on “design” - diction connotes intentional creation
-mirrors Macbeth’s intentional crafting of his desired position as king through his ambitious pusuits
-despite his trangression of natural order, the seductive allure of these temptations for power obstruct him from seeing the eternal consequences he will face
contextual link - Tarquin was a Roman tyrant who raped his wife
-Macbeth ambitiously strives to emulate Tarquin so he can embody what it means to be a ruthless blood-thirsty leader
-for him power becomes synonymous with brutality
“disdaining fortune… Smok’d with bloody execution”
-Macbeth, Act 1
-Themes: violence
“disdaining fortune”- shows a disregard for his fate, and his attempt to manipulate natural order
-later becomes evident in his disruption of the Divine Right of Kings
syntax - implies a symbiotic (close) relationship between his downfall and his intrinsic proclivity (tendency) for violence
-“fortune” preceding “execution” foreshadows how Macbeth’s aquisition of an illegitimate title and wealth through violent means will lead to his eventual “execution”
“smok’d” connotations - heat and hell
-foreshadows his malevolnt nature that he will later face moral and psychological ramifications (consequences) for
“I hear a voice cry ‘Sleep no more! Macbeth does murder sleep’”
-Macbeth, Act 2
-Themes: guilt and appearance vs reality
motif of sleep - sleep is synonymous with innocence
-Macbeth experiences a disturbed sleep pattern, symbolising his departure from innocence
-this disintegration of innocence is a direct consequence of his deceitful actions in seizing the throne and committing regicide
-Macbeth’s descent into madness is evident, as he no longer uses imperative commands like “stars hide your fires”, instead he reflects on the mental anguish and haunting “cries” that torment his troubled mind
exclamative statement - “Sleep no more!”
-emphasises the enduring and irreverisble nature of Macbeth’s loss of sleep and innocence
-his disruption of the natural order through his wickedness, masked by a facade of moral piety (religiousness), has forever condemned his minds to the relentless torment of guilt
-sempiternally (forever), he will battle with moral restlessness, finding no redemption or salvation
“Dash’d the brains out”
-Lady Macbeth, Act 1
-Themes: violence, gender and appearance vs reality
plosive alliteration in “dash’d” - brutal sound mirroring her brutal reflection of motherly instincts
-her proclivity (tendency) for violence takes precedence over motherhood, leading to her unapologetic willingness to extinguish human life in the relentless pursuit of unchecked violent ambition
juxtaposition between “dash’d” (forcefeul verb) and “brains” (delicate nature)
-serves as a poignant symbol reflecting Lady Macbeth’s character, despite her seemingly fragile exterior, she habours a strong desire to instigate violence and chaos
targeting vulnerable “brains” of infants
-signifies a recognition of both the paramount importance and extreme fragility of human existence
-ironic as she seeks to disrupt her unborn child (the seat of morality and reason), which becomes the locus (particular place something occurs) of her downfall
“Look like th’ innocent flower, but be the serpent under’t”
-Lady Macbeth, Act 1
-Themes: the supernatural and appearance vs reality
biblical allusion of “serpent”
-draws parallels to the Genesis narrative depicting the fall of mankind
-underscores her belief in the effectiveness of deception, akin to the serpent’s manipulation of Adam and Eve
embodies and personifies the key theme of appearance vs reality
-similar to the witches, she skillfully employs deceptive practices to manoevre acquiring poer over Macbeth
-Lady Macbeth assumes the role of the fourth witch within the play - she employs cunning schemes to manipulate Macbeth
highlights the effectiveness of deception when cloaked in an “innocent flower” facade
-emphasises the ease with which such deceit can be orchestrated, especially when temptation and pride are at play
“Come, you spirits.. unsex me here”
-Lady Macbeth, Act 1
-Themes: the supernatural and gender
syntax (word order) of “spirits” preceding “unsex”
-illuminates the dependence she places on the supernatural
-supernatural intervention is imperative for her desire to be successfully “unsexed”
unhesistant and determined - imperative phrase “come, you”
-demonstrates a commanding familiarity with the ominous supernatural realm
-she seeks liberation from the societal constraints imposed by her feminity
androgynous (male and female) nature
-would be perceived as supernatural in the Jacobean era, as gender roles were rigid
“[enters with a taper]”
-Lady Macbeth, Act 5
-Themes: violence and guilt
motif of darkness and light
-reinforces how LM’s depraved (morally corrupt) and dark wants for violence consequently caused her desperation to see the light and seek redemption
symbolism of taper
-a taper provides light, which is emblematic of how LM is seeking light, hope and solace in her eternal mental darkness
-Christian symbolism, light often represents hope and divine guidance
-her “entering” with it can be seen as a desperate grasping for solace and perhaps even a subconscious plea for God’s redemption from the sins that torment her
character development
-her need for light is the antithesis to her earlier presentation in Act 1, where she calls upon the night, wanting darkness to help fuel her violent and malevolent plans “come thick night”
“a little water claers us of this deed”
-Lady Macbeth, Act 2
-Themes: ambition and guilt
litotes (under-exaggeration) - “a little”
-makes her callousness apparent as she trivialises the act of murder and emasculates Macbeth, encouraging him further along his murderous path
-Lady Macbeth’s omnipotent ambitions blind her to the profound mental turmoil Macbeth is experiencing
euphemism - substitution of a word or hrase with something less harsh or blunt, characterising regicide as a mere “deed”
-highlights a paradoxical aspect of her character
-despite her ambitions to shed feminine traits and embrace tyrannical brutality, she struggles to articulate the gravity of the heinous act, this foreshadows her descent into a melodramatic state of insanity
“make thick my blood, stop up th’ access and passage to remorse”
-Lady Macbeth, Act 1
-Themes: ambition and gender
Femme fatale - a seductive and manipulative woman who can lure men into danger or sin
-common trop within literature and poetry
-LM is a femme fatale as she not only is manipulative, but she also rejects her womanhood and motherhood, this is a typical trope of a femme fatale
imperative of “make thick my blood”
-illustrates how she commands for emotional restraint and a callous indifference
-recognising that her aspirations for tyranny require a detatchment from femininity and the accompanying emotions
-LM seeks to rid herself of these elements to prove the way for her ruthless ambition
“beards”
-Banquo, Act 1
-Themes: gender
masculinity synonymous with power
-thus this description imbues them with a threat of dominance
-they therefore appear androgynous, alike to LM
-their lack of gender conformity exacerbates them as duplicitous and powerful beings
-in a patriarchal (male-dominated) society where power is associated with a clear gender identity, the witches ambiguity becomes a potent symbol of their threat
-they represent a chaotic force that can unravel the carefully constructed social order
appearance vs reality
-the witches weave a web of deceit with supernatural ease due to their gender non-conformity and ambiguosness
-they masquerade as prophets, whispering promisses of a glorious future for Macbeth, all the while orchestrating his descent into a grim and ominous destiny
“look not like th’ inhabitants o’th’ earth”
-Banquo, Act 1
-Themes: the supernatural
the witches’ physiognomy (when appearances are believed to be reflective of your true character) exposes them as inhumane and evil
-Banquo’s perceptiveness in recognising their depraved demeanour is important, especially considering the historical belief that he was an ancestor of King James I
-this perceptiveness serves as a subtle form of indirect flattery, alligning Banquo with a quality associated with the monarch and subtly reinforcing his sagcity (deep wisdom)
-he is immune to corrupting influences, showing Banquo’s purity and moral integrity
“earth” - cultivates a natural image
-accentuates the witches’ unnatural essence and their deliberate attempt to subvert the natural order
“instruments of darkness”
-Banquo, Act 1
-Themes: the supernatural
auditory image of “instruments” created by lexis (word choice)
-implies a malevolent musicality
-showcases how their words possess an almost hypnotic trance for Macbeth
-the choice of “instruments” suggests a deliberate orchestration of their deceit, framing their speech as a manipulative melodic composition that enchants its victims
the ‘d’ plosive sound - creates a harsh sound
-foreshdows the dark, ominous, and grim destiny the witches are ready to inflict upon Macbeth
Banquo’s discernment (able to judge it well) of this “darkness” indicates his immunity to the hypnotic and malevolent musicality that captivates Macbeth
-his ability to perceive their looming manevolence distinguishes him as a character not easily swayed by the enchanting allure that Macbeth falls victim to
“royalty of nature”
-Banquo (said by Macbeth), Act 3
-Themes: ambition
Banquo serves as a foil (contrast) to Macbeth
-epitomising an ideal balance between ambition and respectability
-as Macbeth descends from being “worthy” to a “hell-hound” he contrasts sharply with Banquo’s ability to retain both ambition and piety (religion)
imagery on “royalty”
-conjures an image of divine ordination (chosen by God to be king)
-signals Macbeth’s acknowledgement of Banquo’s moral stature and respectability akin to one chosen by God
“wisdom that doth guide his valour”
-Banquo (said by Macbeth), Act 3
-Themes: ambition
the diction of the term “guide” connotes leadership
-reveals Macbeth’s initial attempt to direct and lead his ambition, but he eventually succumbs to its potent influence, rendering him vulnerable
-in contrast, Banquo emerges as a figure capable of self-guidance, steering clear of the temptations of sin
the seven deadly sins
-Macbeth epitomises the sin of envy as he desires for Banquo’s capacity for courage in tempering ambition and abstaining from succumbing to these “deep desires”
ambivalent (uncertain) portrayel of Banquo stands as the antithesis to Macbeth’s bloodthirsty depiction, underscoring the contrast in their response to ambition’s compelling force
“fair is foul and foul is fair”
-The Witches, Act 1
-Themes: the supernatural and appearance vs reality
trochaic tetrameter (how the witches speak)
-unnatural manner of speech, makes it easier for them to tap into the supernatural realm to successfully employ their oral deceptions
-distinct from the iambic pentameter that noble characters speak in throughout the play
-gives their speech an eerie songlike quality
the witches speak in paradoxes
-introduces a moral ambiguity
-heightens the sense of contradiction and disorientation that is established from the offset
Banquo’s later characterisation of them as “instruments of darkness” underscores their sinister musicality
-implying that their conflicting words possess a hypnotic allure, particularly for Macbeth
foreshadows the impending chaos in the play
-suggesting that the witches’ deceitful nature and captivating prophecies will ultimately leave Macbeth bewildered and disorientated
“I have no words; my voice is my sword”
-Macduff, Act 5
-Themes: ambition, violence, kingship
violent metaphor
-the initial upheaval, bought about by Macbeth’s violent tyrannical means, mandates a similar force to rectify the natural order that has been distrupted
-Macduff contends that the restoration of Scotalnd’s natural order necessitates physical violence, his ambition is to rightfully restore Scotland
Macduff is the archetype (perfect example) of the avenging hero, motivated by revenge
-despite his personal motivations rooted in revenge, the nobility of his intentions shines through
the short sentence reflects the short amount of time that Scotland will continue to suffer
“Vaulting ambition which o’erleaps itself and falls on th’ other”
-Macbeth, Act 1
-Themes: ambition and kingship
metaphor “vaulting ambition”
-draws a parallel between Macbeth and a jockey who is to manage an untamable, almost animalistic force
-depicts Macbeth’s struggle to control his ambitious nature
-suggests self-deception, Macbeth believes that he is able to harness some control over his ambition, enough that he is able to transcend the societal, political and divine limitations placed upon him
Macbeth personifies his ambition
-portrays his ambition as possessing a potency comparable to a human force that can exert influence and corrupt his formerly innocent mind
-when he acknowledges its eventual “fall” it indicates Macbeth’s awareness that his all-encompassing ambition is his hamartia, it is destined to lead to a mental and physical decline
-or it could be presenting Macbeth as a victim enshared (trapped) by his own ambition
-shows he understands its fatal consequences and presenting him as vulnerable to its relentless influence
“I dream’d of the three weird sisters last night” Banquo
“I think not of them” Macbeth
Act 2
Themes: guilt, appearance ve reality, supernatural
Banquo’s sincerity operates as a foil to Macbeth’s deceit
-Macbeth falsely assertes that he does not “think” of the prophecies
-Banquo’s moral characterisation is strategically employed to heighten then contrast with Macbeth’s dishonesty and duplicity, this deliberate juxtaposition serves to accentuate the moral divergence (division) between the two characters
-Banquo feels guilty about thinking about the supernatural and not God, contrast Macbeth
abstract noun “dream’d”
-signifies Banquo’s affliction (pain) and guilt
-suggesting that he is haunted not only in his waking moments but also in the realm of sleep
-this implies the intrusion of superstition into Banquo’s consciousness, trespassing on his unconscious mind
motif of sleep
-becomes synonymous with the loss of innocence, eg. Macbeth “sleep no more”, LM sleepwalking
-Banquo retains the capacity to sleep but acknowledges his ability to “dream”, this contrast illuminates Banquo’s preservation of innocence
-despite Banquo feeling guilty for being entranced by the supernatural, he truthfully admits to being captivated by the supernatural without succumbing to guilt-induced insomnia like Macbeth and LM
