Macbeth - Appearance vs Reality Quotes ANALYSED Flashcards
“Stars hide your fires, let not light see my black and deep desires”
Macbeth (Act 1)
DARK AND LIGHT IMAGERY: The contrast between the ominous connotations associated with “black” and the bright imagery linked to “light” highlights Macbeth’s dichotomous (divided into 2) character
- despite projecting a virtuous facade of an upright Jacobean man, he harbours malevolent and tyrannical intentions. M wants to shroud his sinister motives in metaphorical darkness as if his true intentions come to “light” this would obstruct him from acquiring his illegitimate title of king
RHYMING COUPLET: The rhyme between “desires” and “fires” in this couplet has a resemblance to the enchanting spellcasting technique employed by the witches. who also utilise rhyming couplets to accentuate their deceptions
- this emphasises M’s descent into a shadowy and malevolent trajectory as he is asking for his duplicitous intentions not to be revealed so he can fulfil his ambitious egocentric desires.
“I heard a voice cry ‘sleep no more! Macbeth does Murder sleep”
Macbeth
MOTIF OF SLEEP: Throughout the play, there is a recurring motif that makes sleep synonymous (linked) innocence. Macbeth, troubled by guilt, experiences a disturbed sleep pattern, symbolising his departure from a state of innocence.
- This disintegration of innocence is a direct consequence of his deceitful actions in seizing the throne and committing regicide (killing of the king). Macbeth’s descent into madness is evident, as he no longer issues imperative commands like “stars hide your fires.” Instead, he reflects on the mental anguish and haunting “cries” that torment his troubled mind.
EXCLAMATIVE SENTENCE: The exclamative sentence “Sleep no more!” emphasises the enduring and irreversible 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 mind to the relentless torment of guilt.
Sempiternally (forever), he will battle with moral restlessness, finding no redemption or salvation (being saved from sin) for the sins he has committed as a murderous tyrant who defied the innate moral order and natural order.
“Look like th;innocent flower but be the serpent under’t” &
“All hail Macbeth, that shalt be king hereafter”
Lady Macbeth & The Witches
BOTH PERSONIFY KEY THEME OF APPEARANCE VS REALITY: LM assumes the role of the fourth witch within the play employing cunning schemes to manipulate M. Significantly both witches and LM embody the central theme of appearance vs reality, skillfully employing deceptive practices to manoeuvre acquiring power over M. (not too important for supernatural but still useful to know)
BIBLICAL ALLUSIONS: LM incorporates a biblical allusion by employing the term “serpent” drawing parallels to the Genesis narrative depicting the fall of mankind. This deliberate choice of diction serves to underscore her belief in the effectiveness of deception akin to the serpent’s manipulation of Adam & Eve. LM adeptly highlights the effectiveness of deception when cloaked in an “innocent” flower like facade (mask) emphasising the ease with which such deceit can be orchestrated especially when temptation and pride are at play
SHORT SENTENCES: through short sentences and prophesies tailored to stroke his ego and satisfy his ambitions the witches effectively obscure his judgement making him susceptible to their manipulative schemes.
“Dash’d the brain out”
Lady Macbeth
PLOSIVE ON “DASH’D”: the plosive sound creates a brutal sound mirroring her brutal rejection 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 violence.
JUXTAPOSITION: The deliberate contrast between the forceful verb “dash’s” and the delicate nature of “brains” serves as a poignant symbol reflecting LM’s character. Despite her seemingly fragile exterior she harbours a strong desire to instigate violence and chaos.
- Notable her choice of targeting the vulnerable “brains” of infants signifies a recognition of both the paramount importance and extreme fragility of human existence. Yet this is IRONIC as the very organ she seeks to disrupt in her unborn child - the seat of morality and reason- becomes the locus (particular place something occurs) of her own downfall (when she goes completely insane with guilt)
“Fair is foul and foul is fair”
The Witches
SPEAK IN PARADOXES: The Witches communicate through paradoxes, as seen in their use of “foul” and “fair.” This introduces a moral ambiguity (not clear), whilst heightening
the potent sense of contradiction and disorientation that is established from the offset. This also foreshadows the impending chaos in the play, suggesting that the Witches’ deceitful nature and captivating prophecies will ultimately leave Macbeth bewildered
and disorientated.
TROCHAIC TETRAMETER: They speak in trochaic tetrameter, which is distinct from the iambic pentameter that noble characters speak in throughout the play, this gives their speech an eerie songlike quality. This unnatural manner of speech compounds their duplicitousness as even their speech transcends the earthly realm. Consequently, this makes it easier for them to tap into the supernatural realm to successfully employ their oral deceptions.
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.
“I dream’d of the three weird sisters last night”
Banquo
“I think not of them”
Macbeth
ABSTRACT NOUN OF “DREAM’D”: The abstract noun “dream’d’ signifies Banquo’s affliction (pain), 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: The motif of sleep in the play becomes synonymous with the loss of innocence. As Macbeth grapples with guilt, he declares he “sleeps no more,” echoing Lady Macbeth’s somnambulant (sleep-walking) state. Intriguingly, Banquo retains the
capacity to sleep but acknowledges his ability to “dream.” This contrast illuminates Banquo’s preservation of innocence, as he truthfully admits to being captivated by the supernatural without succumbing to guilt-induced insomnia like Macbeth and Lady
Macbeth.
FOIL TO MACBETH: Banquo’s sincerity operates as a foil to Macbeth’s deceit, as Macbeth falsely asserts that he does not “think” of the prophecies. Banquo’s moral characterisation is strategically employed to heighten the contrast with Macbeth’s dishonesty and duplicity (deceitfulness). This deliberate juxtaposition serves to
accentuate the moral divergence (dividing) between the two characters.
“Most sacrilegious murder hath broke ope the Lord’s anointed temple”
Macduff (act 2)
RELIGIOUS SEMANTIC FIELD: There is a religious semantic field as words like “sacrilegious” and “anointed” conjure images of sacredness and holiness. This emphasises Macduff’s sincere loyalty to the King and the established order of Scotland. His deep distress arises from the tragic murder of the King, who is believed to be
divinely ordained (chosen by God) according to the doctrine of the divine right of kings, thus betraying his sacred status.
HYPERBOLIC LANGUAGE: Macduff’s language explodes with hyperbole, reflecting how the king’s murder feels like a personal affront (insult) to God himself. The word “broke”
shatters the peaceful image of a divinely ordained ruler and foreshadows the fractured and broken state of Scotland under Macbeth’s reign.
“I am not treacherous”
Macduff
SIMPLE SENTENCE: The emphatic (being clear) simple sentence in Macduff’s declaration strips away ambiguity (uncertainty). He doesn’t cloak himself in decorative language or feigned (forced) virtue. This directness strengthens the sincerity of his claim, leaving
no room for doubt about his true intentions.
THE DICTION ON TREACHEROUS: Macduff’s diction of “treacherous” serves as a clear distinction between him and the treacherous stain that now defines Macbeth. This single word isn’t merely a denial; it’s a weaponised antithesis (contrast), a declaration of the moral principles that separates him from the murderer Macbeth.
“What i am truly, // Is thine, and my poor countries to command”
Malcolm Act 4
CAESURA (pause in middle of the line): The caesura after “thine” creates a momentary pause. This silence, delivered by the actor, allows the audience to fully absorb Malcolm’s honest dedication. There’s no gap between his outward presentation and his inner reality - he is, in essence, the embodiment of a true king.Here, Malcolm defines himself through unwavering dedication to his service - serving Macduff and his “poor country.” This selfless declaration positions him once again as the antithesis (contrast) of the tyrannical Macbeth.
POSSESSIVE PRONOUN “MY”: Malcolm’s use of the possessive pronoun “my” before “poor countries” reveals more than just ownership. It illuminates a sense of paternalistic (fatherly) tenderness. The word “poor” evokes sympathy for Scotland’s suffering under Macbeth’s dismantling rule.By calling it “my poor country,” Malcolm portrays himself not as a distant ruler, but as a compassionate protector. This choice of words reinforces his image as a leader with the character and empathy befitting (suitable) a true king.
“A good and virtuous nature may recoil // In an imperial charge. But i shall crave your pardon”
Malcolm said to Macduff in Act 4
DICTION ON “RECOIL”: Malcolm’s statement betrays a deep understanding of human nature and how one can appear to have good intentions, yet in reality be swayed by malevolent influences. The diction on “recoil” illuminates he recognises the seductive nature of power and the risk of moral compromise, even for the well-intentioned.This subtle admission (statement) underscores Malcolm’s wisdom - he recognises that true leadership requires not just good intentions, but also the strength to confront the potential compromises that power demands.
ENJAMBMENT: The enjambment (no punctuation at the end of the line) after ‘recoil makes the line bleed into the next, this physically representing how swiftly an individual with a “good and virtuous nature” can be seduced by the allure of “imperial charge” and power.Malcolm is shrewd (good judgement) and wise as he understands the complexities of human nature - how even those divinely ordained, like himself, can be swayed by the satanic temptation of power. Here, Malcolm acknowledges the fragility of faith in the face of immense ambition.
