AN EXPLORATION INTO THE EXCHANGE OF EVIL

WITHIN SHAKESPEARE’S TRAGEDY, MACBETH

RQ: How far and to what extent does the potential of hope corrupt the

hearts and minds of Macbeth and Lady Macbeth?

Subject: English

Category: 3

Word Count: 3744

Table of Contents

Introduction.................................................................................................................................................. 3

A background into conceptual evil .............................................................................................................. 4

Act 1-2: Awakening of corruption .............................................................................................................. 6

Act 3-4: Insensitive sensitives .................................................................................................................... 10

Act 5: Mustard seed of Morality ................................................................................................................ 13

Conclusion.................................................................................................................................................. 15

Bibliography ............................................................................................................................................... 16

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Introduction

Throughout Macbeth, a play devised by William Shakespeare, there lies, on many

occasions, a distinct evolution of evil between Macbeth and his wife, Lady Macbeth. Based on a

prophecy entailing an ascension to kingship, the play follows the lives of the married couple and

their wicked exploits to bring life to their oracle. By writing a play based on tragedy, the author

helps portray to his readers how the possibility for power corrupts the hearts and minds of those

burdened by its prediction. The play Macbeth, a tragedy written by William Shakespeare, consists

of a married couple whose hearts slowly and meticulously are fed on wickedness for the possibility

of what could be and what does, even if for a short while.

The tragedy was first composed for a local theatre in the early 1600s, a time in history

comprising two eras, the Elizabethan era of Queen Elizabeth 1 and the Jacobean era of King James

1. Unlike the spectacle, Macbeth, the author's former works, conducted during the reign of Queen

Elizabeth, publicized themes of joy, love, and confidence. However, as her sovereignty came to

an end in 1603 and King James assumed the throne, Shakespeare began to compose more cynical

and dark compositions indirectly reflecting the insecurities of the current king. While being one of

the author's most diminutive tragedies, Macbeth prevails, to this day, as the best influential work

by the author.

During the Elizabethan age, the era of discovery and expansion, Shakespeare administered

plays that favored the common folk while also implementing common concerns, of its time,
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regarding kings and queens and their strife to either remain on the throne or have their seat seized

by an evil entity. The play questions the value of human ambition compared to the common good

and the wickedness of passion when infiltrated by evil. During this era, the concept of wickedness

stemmed from witches who were depicted as Satan's agents, evil existences who bring with them

menace and death. With heavy witchcraft and supernatural incidents of high interest, at the time,

Shakespeare incorporated these villainous beings into his play by portraying them as the ministers

of menace against the common good of both men and women. In the play, Macbeth mentions the

nature of witchcraft within a monologue of his, "Nature seems dead, and wicked dreams abuse.

The curtain'd sleep; witchcraft celebrates. Pale Hecate's offerings, and wither'd murder," (Macbeth

Act II Scene 1). In this monologue, the author explicitly affiliates the nature of witchcraft with

Hecate, the goddess of witches in Greek mythology.

A background into conceptual evil

As evidently exhibited in the tragedy Macbeth, the concept of evil even to this day sits

without a pellucid definition. In the centuries past, the conception of evil was displayed as all ill

deeds ranging from natural disasters to impulsive wrongdoings. Nowadays, this term is mainly

exercised to accentuate the gravity of a crime. Nonetheless, even while narrowed in meaning to fit

a particular criterion with the centuries, a clear definitive interpretation of evil is yet to be

established. Yet, indeed, even without a definite meaning, this word proves itself to be an

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unshakable unit in our moral lexicon as explicitly exhibited by historical events and works of

literature throughout the centuries.

As stated in an article by a psychiatrist, Robert L. Simon, "Evil is a thick rope of many

complex, twisted, and intertwined strands. An effort to comprehensively define evil is an

impossible task, a fool's errand." (Simon Serial killers, evil, and us) Robert L. Simon describes

individuals who strive to define evil as fools in mind, for the term fluctuates with the people and

time.

An aphorism by the author himself, "Ambition is a soldier's virtue," illustrates the virtue

present with a worldly drive. However, just as virtuous ambition might appear to be, hope given

to self-indulgent endeavors can instead play out as a soldier's downfall. Rather than being wicked

itself, ambition presents an inherent drive for evil if performed under selfish means. The

blasphemy of ambition rests not on the concept itself but the desire behind its workings as well as

one's innate capability. When imposed on an individual with potential for wickedness, evil grows

alluring to the heart, and if pursued, in due course, blinds the mind of reason. Contrariwise, an

individual inclining more towards good than evil may harbor an appeal for wickedness but lacks

the heart for such deeds. In the case of Macbeth, an external force, specifically his wife, Lady

Macbeth, is imperative to further her husband's wickedness. Possessing like-minded ambitions,

she too attains hope from her husband's gifted oracle, but, unlike her partner, she has the heart for

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such egoistic pursuits. If not for her painted heart and hand in evil, would a spectacle this woeful

ever come to be?

Act 1-2: Awakening of corruption

The tragedy commences with the dialogue of three witches regarding their upcoming

meeting with Macbeth, "When shall we three meet again? In thunder, lightning, or in rain?" By

attributing an ideal date to such destructive conditions, the play immediately beckons an

impending sense of wickedness seen to be brewing between the three and soon-to-be Macbeth.

Alongside eerie phrases, the witches incorporate morally conflicting verses in their speech, "Fair

is foul, and foul is fair." (Witches Act 1 Scene 1) Such discourse brings readers a sense of moral

confusion by implying that nothing is what it seems. By tying the witches to such grim terms and

dispersing their tongues with contrasting verses, Shakespeare helps better paint the panorama of

evil within his tragic story while further portending a potential for such wickedness.

To thoroughly amplify tragedy and ominous evil in the play, Macbeth is doused with the

image of heroism, a warrior hero who has returned from battle victorious. Phrases such as Valour's

minion and Bellona's bridegroom further represent his recognized heroism in the kingdom. By

introducing Macbeth as a heroic figure, Shakespeare sets the ground for the downfall of a once-

great man. Hence, readers better scrutinize how a man once hero drowns at the feet of evil by the

simple notion of hope.

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 Throughout the entirety of the tragedy, there sits a sole moment wherein readers

witness Macbeth before having encountered the witches and their prophecy, "So foul and fair a

day I have not seen." Pertaining to the battle recently won and the soldiers lost along the way, a

sense of genuine sympathy blossoms in a soon-to-be wicked man. Momentarily, his essence is yet

to lay a hand on blasphemy, therefore showcasing to readers a solitary occasion of tenderness

before his ultimate downfall.

As for the witches, known as the weird sisters, their rhythmic chorus, much like a spell, is

doused in dark imagery to help exhibit an infectious sense of wickedness. As Macbeth yields an

ear to these prophecies of his especially, the contagious inclination of evil makes way to his heart,

awakening what was once dormant. In better terms, readers witness, first hand, the awakening of

Macbeth by hope and the ambition of what could come to be. Once having showcased a sense of

sympathy for others, his heart is fed a contagious inhumane essence, slowly rebranding the mind

for selfish endeavors. Act one, scene three, displays the exact instant Macbeth deviates from his

formerly dormant state, foreshadowing a soon-to-be complete awakening to corruption.

By having the witches awaken ambition in Macbeth's heart, Shakespeare establishes the

dramatic premise of his play. Along with installing eerie elements from the forefront, the author

meticulously constructs the ideal habitat for peril to take root. With hope established in his heart

and mind, our initial perception of Macbeth, based on the report of his bravery and heroism in

battle, is immediately complicated by his grown fixation upon his prophecy. As foretold by the

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witches, Macbeth promptly advances in rank, "Two truths are told. As happy prologues to the

swelling act. Of th'imperial theme." (Macbeth, Act 1, Scene 3) By elevating in status, Macbeth's

faith in the prophecy solely strengthens by nature, further provoking his drive for power and the

evil schemes he may have to exercise to obtain such desires.

Macbeth's reflection on such immoral schemes infers the quiet budding of wickedness

within his once unblemished heart, "Stars, hide your fires;/Let not light see my black and deep

desires./The eye wink at the hand, yet let that be/Which the eye fears, when it is done, to see." The

author enunciates Macbeth's evil thoughts through an inner monologue, portraying his fear of

having to execute such schemes. Conclusively, there persists an over-the-edge clash among the

ultimate antipodes of his being: remaining moral or succumbing to the immoral.

As mentioned prior, though the ambition for evil may coexist within an individual, they

must either have a heart soft to such inclinations or an external hand to blasphemy. In Macbeth's

case, his external prod is his wife, Lady Macbeth. Once having heard of the prophecy from her

husband, Lady Macbeth doubts her husband's ability to perform the schemes necessary," You want

to be powerful, and you don't lack ambition, but you don't have the mean streak that these things

call for." As pronounced in the excerpt, Macbeth has a heart unfit for such crimes, even while

inflicted with evil by supernatural witches. For the time being, despite encountering wicked

thoughts, his core beats on the morality of his actions. Contrariwise, Lady Macbeth brings to light

her innate composition for blasphemy even without having experienced evil first hand, "Hie thee

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hither, That I may pour my spirits in thine ear And chastise with the valor of my tongue." (Lady

Macbeth Act 1 Scene 5) Lady Macbeth wishes to dismantle her husband of all apprehensions and

moral conflicts so long as he returns home the crown. By inspecting Lady Macbeth's response, one

can discern a distinct deviation of evil into two primary sects, though interconnected,

simultaneously of their own accord: One sect involuntarily introduced to wickedness while another

idolizing the concept and deliberately transitioning. While dependent solely on the individual, both

sects stem from the grooming of hope in once tranquil hearts.

Despite her innate build for evil, Lady Macbeth views herself as too feminine for her own

good and begs to spirits so that they may relieve her of innocence, "you spirits / That tend on

mortal thoughts, unsex me here, / And fill me from the crown to the toe top-full / Of direst cruelty."

(Macbeth 1.5) Though competent of evil, Lady Macbeth opts to discard the lingering purity of her

character to enact the bloody deeds necessary to assume power. Unlike her husband, who was

involuntarily invited to evil, Lady Macbeth willingly discards her purity. By removing her baggage

of innocence, Lady Macbeth becomes one and the same with the three witches, sheer evil from

head to toe. As exhibited by the witches, Shakespeare makes adamant an eerie sense of wickedness

with the introduction of Lady Macbeth.

Throughout Act one, Macbeth suffers an ongoing fundamental quandary between the

morality of the murderous scheme and the unethical yet desirable outcome of such, "But here,

upon this bank and shoal of time, We'd jump the life to come. But in these cases/We still have

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judgment here." (Macbeth 1.7) As stated by the quote, readers are given another chance to discern

the panic, fear, and inner moral dilemma of a man hours away from murder.

Despite his fundamental dilemma, Macbeth is wed to an entity now more witch than human

that would go out and about obtaining power. With every frenzy, Lady Macbeth achieves to

convince Macbeth of immorality and corruption. Hence, his once inner moral dilemma is no more,

and a man once doubtful is now hungry for the throne. The couple executes King Duncan in the

dark of night as well as the remaining innocence of a now sinister heart.

Act 3-4: Insensitive sensitivities

According to a recent study conducted by Kent Kiel, author of The Psychopath Whisperer,

and Lora Cope, a neuroscientist from The University of Michigan, individuals who have

committed homicide undergo a significant reduction of grey matter within their temporal lobes.

This shrinkage, particularly apparent within male offenders, represses behavioral control and

social cognition. Regarding Macbeth specifically, Shakespeare illustrates him as a heroic soldier

from war or, in better terms, someone who has faced execution first hand and on various occasions.

His experience with death begs to question how he maintained a sense of morality within such

gruesome settings.

As per another study by the University of California at San Francisco (UCSF) researchers

at the UCSF-affiliated San Francisco Veterans Affairs Medical Center, individuals postpartum an

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affiliation with war suffer immense moral injuries. To remain moral despite the war, one can

speculate that Macbeth may have justified his killings as a necessity for the common welfare of

his kingdom and devotion to the king. Therefore, his murder of King Duncan differentiates itself

from the death inevitable in war. Macbeth kills a man for egoistic motives, which consequently

costs him his morality.

A quote by novelist Rick Yancey addresses the impact that murder has on the worth of

vitality, "The first kill would be the hardest, but the next would be easier, and the one after that

easier still, because it's true: Even the most sensitive person can get used to even the most

insensitive thing. Cruelty isn't a personality trait. Cruelty is a habit." (Rick Yancey 5th wave) With

every slaughter, the value he sets on life diminishes, causing the next strive to blasphemy that

much more effortless. As he proceeds to execute the threats surrounding him, readers witness a

gradual but evident acclimation towards wickedness. His once compassionate heart now runs on

greed for the power he possesses. His morals abandoned after the first murder are no longer. As a

result, murdering King Duncan has Macbeth ultimately annihilated the remaining virtue within

himself.

On the contrary, Lady Macbeth, who now possesses her desire, showcases a more docile

demeanor towards Macbeth and his contemporary schemes. It seems as though she has descended

from wickedness and wishes Macbeth would do the same. William demonstrates the shift of

immorality among the couple by a sole line from Macbeth to his wife, "So shall I, love,/And so, I

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pray, be you." (Macbeth 3.2) In the extract, Macbeth reassures his wife to mask her wickedness

with a warm expression before those deemed as threats. Ironically, Macbeth now questions and

consoles his wife to stand alongside him in his own wicked endeavors. By reassuring his wife to

employ a tactic, she had familiarized him with previously, readers witness the moment Macbeth

assumes independence for his evil. Readers perceive Macbeth's transition to an independent entity

as more immoral and hungrier for control than his mentor. Lady Macbeth, per se, the same entity

readers labeled as more witch than human, seems less of a threat than the man she has awakened.

As Macbeth spirals farther into crime and evil, he begins to hallucinate those he has

assassinated, which he refers to as nature's method of guilt-tripping men, "It will have blood, they

say. Blood will have blood./Stones have been known to move, and trees to speak." ( Macbeth 3.4)

One can deduce that these hallucinations result from some form of lingering guilt towards his

victims no matter how much he actively attempts to suppress them. When experiencing such

delusions, Lady Macbeth seems to be in a state of worry for her husband's wellbeing, which sits

ironically to the eye as the character first introduced to readers fixated more on the prophecy than

Macbeth's return from war.

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Act 5: Mustard seed of Morality

Amid the final act of his tragedy, Shakespeare delves into Lady Macbeth's perspective and

mindset following King Duncan's assassination. As her husband and more, Lady Macbeth

hallucinates in her slumber and resides in a state of guilt-tripping despair, "It is an accustomed

action with her to seem thus washing her hands." (Macbeth 5.1) Lady Macbeth is seen rubbing

her hands underwater for lengthy periods in an attempt to rid herself of King Duncan's forsaken

blood along with those committed by her husband.

One can deduce that her depressed disposition is not solely a result of her sins, but further,

the blasphemy she has awoken in her husband, "The thane of Fife had a wife. Where is she now?—

What, will these hands ne'er be clean?—No more o' that, my lord, no more o' that. You mar all

with this starting." (Macbeth 5.1) Lady Macbeth remorses over Macduff's death, which though she

had no role in, seems just as often or more accountable for the innocent lives taken for the sake of

power. As her husband strives to subdue the mustard seed of guilt in his heart, Lady Macbeth

appears to be drowning by her own immorality, yearning to escape herself and regretting having

yielded to the prophecy at the outset.

Incapable of enduring her guilt any longer, Act 5, scene 3 showcases the moment Lady

Macbeth commits suicide as a definitive escape from her inner moral torment. Macbeth approaches

her death as an impending result that was bound to befall fools who submit themselves to guilt,

"Life's but a walking shadow, a poor player/That struts and frets his hour upon the stage,/And then

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is heard no more. It is a tale/Told by an idiot, full of sound and fury,/Signifying nothing." (Macbeth

5.5) By eliminating all he deems as threats, readers discern how trivial the meaning of life has

become for this man. His heart no longer is a house for morals and reason and is instead drenched

in wickedness and a desire for control. His demise, beheading, begs to question how little this man

has gained in comparison to what he has lost: a chance for family, sanity, status, morality,

sympathy, and ultimately his life along with the lives of those he once loved. Macbeth has not only

assassinated those he regarded as threats but indirectly led the sole individual who still held

compassion towards such a lost man to take her life in grief. Lady Macbeth, once one with the

witches, was oblivious of the wickedness her husband repressed. While formerly representing pure

wickedness to readers, Lady Macbeth was in no comparison as corrupt as her husband. Opposites

by nature, Macbeth appears outwardly moral while suppressing his villain of a heart as Lady

Macbeth, outwardly wicked, suppresses morality and compassion. The author approaches King

Duncan's assassination as an awakening of the formerly subdued portions of the couple: the devil

disguised in a moral man and the lingering femininity of a forsaken soul. Conclusively, readers

beg the question of who the real villain was all along. Would the real villain be the man who gave

in to his desires and transitioned to the devil or the woman who had awoken such beast?

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Conclusion

Throughout Macbeth, a tragedy composed by William Shakespeare, there prevails, on

many occasions, an enunciated unfolding of evil between Macbeth and his wife, Lady Macbeth.

Based on a prophecy indicating an ascent to kingship, the play pursues the lives of the married

couple and their wicked escapades to bring life to their oracle. By having his play appertain to

tragedy, the author impersonates to his readers how the chance for power gradually and

meticulously taints the hearts and minds of those burdened by its prediction. Being opposites by

nature, readers witness how both characters are personally and psychologically affected by their

dive into wickedness in conjunction with the necessary schemes they execute to remain on the

throne. Lady Macbeth, a woman who had once voluntarily surrendered herself to corruption,

drowns by her own grief while the husband to which she awoke blasphemy within transitions into

a villain. While a seemingly moral man represses the iniquity within his heart, his wife, more witch

than human, masks the lingering femininity of her soul. Ultimately, both individuals help unravel

the hidden elements of their loved one, which at long last acts to their demise. Such begs to

question of who the true villain of this tragedy truly is. Is the villain the one who terrorizes the

world or has unleashed the doer of such terror? Or are these two lives solely bound for demise by

a prophecy involuntarily unveiled to them? Are they indeed the villains of this tale or the victims

of an untimely hope?

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