key themes: appearance vs reality

Question 1

“Stars hide your fires, Let no light see my black and deep desires” (Act4)- Macbeth

Answer 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 character.
• Despite projecting a virtuous facade of an upright Jacobean man, he harbours malevolent and tyrannical intentions. Macbeth wants to shroud his sinister motives in metaphorical darkness, as is 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 spell-casting techniques employed by the witches, who also utilise rhyming couplets to accentuate their deceptions.
• This emphasises Macbeth’s descent into a shadowy and malevolent trajectory as he is asking for his duplicitous intentions to be revealed so he can fulfil his ambitious, egocentric desires.

Question 2

“I heard a voice cry ‘Sleep no more! Macbeth does murder sleep’ “
(act 2) - Macbeth

Answer 2

• Motif of sleep: Throughout the play, there is a recurring motif that makes sleep synonymous 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. Macbeth’s descent into maddens 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 sentences: The exclamative sentence “sleep no more!” emphasises the enduring and irreversible nature of Macbeths loss of sleep and innocence. His disruption of the natural order through his wickedness, masked by a facade of moral piety, has forever condemned his mind to the relentless torment of guilt.
• Sempiternally, he will battle with moral restlessness, finding no redemption or salvation for the sins he has committed as a murderous tyrant who defied the innate moral order and natural order.

Question 3

“Look like th’ innocent flower,but be the serpent under’t” (Lady Macbeth act 1)
“All hail, Macbeth, that shalt be king hereafter!” (Witches Act 1)

Answer 3

• Both personify key theme of appearance vs reality: Lady Macbeth assumes the role of the fourth witch within the play, employing cunning schemes to manipulate Macbeth. Significantly, both the witches and Lady Macbeth embody the central theme of appearance versus reality, skilfully employing deceptive practices to manoeuvre acquiring power over Macbeth.
• Biblical allusions: Lady Macbeth 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 and Eve.
• Lady Macbeth adeptly highlights the effectiveness of deception when cloaked in an “innocent” flower-like facade, emphasising the ease with which such deceit can be orchestrated, especially when temptation and pride are at play.
• Short sentences: Similar to Lady Macbeth, the Witches exploit Macbeth’s hubris to help employ their deceptive influence. The short sentence, with commas either side of Macbeth’s name, signifies their targeted approach. Through prophecies tailored to stroke his ego and satisfy his ambitions, the Witches effectively obscure his judgement, making him susceptible to their manipulative schemes.

Question 4

“Dash’d the brains out” (act 1) - Lady Macbeth

Answer 4

• Plosive on “dash’d”: The plosive on “dash’d” creates a brutal sound, mirroring her brutal rejection of motherly instincts. Her proclivity for violence takes precedence over motherhood, leading to her unapologetic willingness to extinguish human life in the relentless pursuit of unchecked violent ambition.
• Juxtaposition: The deliberate contrast between the forceful verb “dash’d” and the delicate nature of “brains” serves as a poignant symbol reflecting Lady Macbeth’s character. Despite her seemingly fragile exterior, she harbours a strong desire to instigate violence and chaos.
• Notably, 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.

Question 5

“Fair is foul and foul is fair” (act1) - witches

Answer 5

• Speak in paradoxes: The witches communicate through paradoxes, as seen in their use of “foul” and “fair”. This introduces a moral ambiguity, whilst heightening the potent sense of contradiction and disorientation that is establishes 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 disoriented.
• 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 song like 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 the as instruments of darkness” underscores their sinister musicality, implying that their conflicting words posses a hypnotic allure, particularly for Macbeth.

Question 6

“I dream’d of the three weird sisters last night” (Banquo Act 2)
“ I think not of them” (Macbeth Act 2)

Answer 6

• Abstract noun “dream’d”: The abstract noun “dream’d” signifies Banquo’s affliction 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: 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”, also echoing Lady Macbeth’s somnambulant state.
• Intriguingly, Banquo retains the capacity to sleep but acknowledges his ability to “dream”. This contrast illuminates Banquo’s preservation of innocence, as despite his guilt for being entranced by the supernatural, 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 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 dishonest and duplicity. This deliberate juxtaposition serves to accentuate the moral divergence between the two characters.

Question 7

“most sacrilegious murder hath broke ope the Lord’s anointed temple” (Act2) - Macduff

Answer 7

• 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 establishes order of Scotland.
• His deep distress arises from the tragic murder of the King, who is believed to be divinely ordained 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 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.

Question 8

“I am not treacherous” (Act 4) - Macduff

Answer 8

• Simple sentence: The emphatic simple sentence in Macduff’s declaration strips away ambiguity. He doesn’t cloak himself in decorative language or feigned 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, a declaration of the moral principles that separates him from the murder Macbeth.

Question 9

“What I am truly,// is thine, and my poor countries, to command” (Act 4) - Malcom

Answer 9

• Caesura: The caesura after “thine” creates a momentary pause. This silence, delivered by the actor, allows the audience to fully absorb Malcom’s honest dedication and ambition to be the best King for his people. There’s no gap between his outward presentation and his inner reality- he is, in essence, the embodiment of a true king.
• Here, Malcom’s defines himself through unwavering dedication to his service- serving Macduff and his “poor country”. This selfless declaration positions him once again as the antithesis of the tyrannical ambitions of Macbeth.
• Possessive pronoun “my”: Malcom’s use of the possessive pronoun “my” before “poor countries” reveals more than just ownership. It illuminates a sense of paternalistic tenderness. The word “poor” evokes sympathy for Scotland’s suffering under Macbeth’s dismantling rule.
• By calling it “my poor country”, Malcom’s 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 a true king.

Question 10

“A good and virtuous nature may recoil // In an imperial charge, But I shall crave your pardon” (said to Macduff in Act 4)

Answer 10

• Diction on “recoil”: Malcom’s statement betrays a deep understanding of human nature. The diction of “recoil” illuminates be recognises the seductive nature of power and the risk of moral compromise, even for the well intentioned.
• This subtle admission underscores Malcom’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 after “recoil” makes the line bleed into the next, thus physically representing how swiftly an individual with a “good and virtuous nature” can be seduced by the allure of “imperial charge” and power.
• Malcom is shrewd 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 Malcom acknowledges the fragility of faith in the face of immense ambition.