A Strange A Strange ExhilarationExhilarationFeracoFeraco

Search for Human PotentialSearch for Human Potential28 November 201128 November 2011

Macbeth’sMacbeth’s first act ends on a note of moral darkness. first act ends on a note of moral darkness. Its second act begins in literal darkness, as Fleance Its second act begins in literal darkness, as Fleance

(Banquo’s son) and his father briefly note that the stars (Banquo’s son) and his father briefly note that the stars and moon seem to have gone out. and moon seem to have gone out.

Fleance’s perfunctory appearances – he shows up here, Fleance’s perfunctory appearances – he shows up here, then during the attack in Act III – seem irrelevant, but they then during the attack in Act III – seem irrelevant, but they gain meaning through their brevity. gain meaning through their brevity.

We barely know him. We barely know him. We don’t understand what he wants or needs. We don’t understand what he wants or needs. But neither does Macbeth. But neither does Macbeth. The Weïrd Sisters’ words to Banquo only establish Fleance The Weïrd Sisters’ words to Banquo only establish Fleance

as a threat, and because Macbeth doesn’t know when his as a threat, and because Macbeth doesn’t know when his counterpart will take power, how he will take it, or why he counterpart will take power, how he will take it, or why he will take it, that threat is amplified by its ambiguity. will take it, that threat is amplified by its ambiguity.

By keeping Fleance on the play’s margins, Shakespeare not By keeping Fleance on the play’s margins, Shakespeare not only ensures that he’ll be just as enigmatic to us, but that only ensures that he’ll be just as enigmatic to us, but that we’ll understand Macbeth’s decisions regarding him, even we’ll understand Macbeth’s decisions regarding him, even if we don’t agree with them. if we don’t agree with them.

Stars and SonsStars and Sons

The Shadow at NightThe Shadow at Night If Fleance is, by design, If Fleance is, by design, notnot the first the first

sequence’s focus, Banquo surely is. sequence’s focus, Banquo surely is. It is his curse to be the Govinda of this It is his curse to be the Govinda of this

play, not in function but in relation: every play, not in function but in relation: every decision he makes and every word he decision he makes and every word he speaks carries with it an extra dimension speaks carries with it an extra dimension of meaning, for we cannot help seeing him of meaning, for we cannot help seeing him as he relates to Macbeth. as he relates to Macbeth.

But while Govinda was content to be the But while Govinda was content to be the shadow of greater men, Banquo’s shadow of greater men, Banquo’s relationship with Macbeth – “Lesser than relationship with Macbeth – “Lesser than Macbeth and greater; not so happy, yet Macbeth and greater; not so happy, yet much happier; thou shalt get kings, much happier; thou shalt get kings, though thou be none” – is much more though thou be none” – is much more complicated. complicated.

First, it must be noted that Banquo First, it must be noted that Banquo represents the man Macbeth was before represents the man Macbeth was before he heard the witches’ words. he heard the witches’ words.

Before they meet the Sisters, the men are Before they meet the Sisters, the men are much the same – two nobles of roughly much the same – two nobles of roughly equivalent stature, two close friends and equivalent stature, two close friends and brothers in arms who defend the same brothers in arms who defend the same cause, etc. cause, etc.

When the Sisters speak, both men When the Sisters speak, both men demand that they say more than their demand that they say more than their original greeting to Macbeth. original greeting to Macbeth.

The Sisters oblige their requests – after The Sisters oblige their requests – after attempting to refuse – by giving Banquo attempting to refuse – by giving Banquo three sentences of his own (equal to three sentences of his own (equal to Macbeth’s “prophecy”). Macbeth’s “prophecy”).

Separated SelfSeparated Self

But the two diverge once they process But the two diverge once they process what the witches said. what the witches said.

For while Macbeth loses himself in For while Macbeth loses himself in ambitious fantasy, Banquo actively resists ambitious fantasy, Banquo actively resists the words’ effects on his psyche. the words’ effects on his psyche.

He, like Macbeth, is ambitious – he agrees He, like Macbeth, is ambitious – he agrees to speak with Macbeth about the to speak with Macbeth about the prophecies later here, just as he does at prophecies later here, just as he does at the end of Act I’s third scene – but he’s so the end of Act I’s third scene – but he’s so troubled by the places ambitious thoughts troubled by the places ambitious thoughts lead him that he refuses to follow them. lead him that he refuses to follow them.

Shut Your EyesShut Your Eyes

When we meet him in Act II’s first scene, When we meet him in Act II’s first scene, Banquo is refusing to sleep – shades of Banquo is refusing to sleep – shades of the curse Macbeth will soon bring upon the curse Macbeth will soon bring upon himself. himself.

Where sleep represents salvation and Where sleep represents salvation and serenity for Macbeth, for Banquo it only serenity for Macbeth, for Banquo it only means a dark place where he cannot means a dark place where he cannot control his urges. control his urges.

Banquo’s dreams, in short, frighten him. Banquo’s dreams, in short, frighten him. So he refuses to dream, just as his friend So he refuses to dream, just as his friend

will once he’s killed his way to the throne, will once he’s killed his way to the throne, and prays for “merciful powers” to take and prays for “merciful powers” to take away those evil impulses just as Lady away those evil impulses just as Lady Macbeth prayed for the ability to unleash Macbeth prayed for the ability to unleash hers. hers.

Singing a Sad SongSinging a Sad Song

Even this early in the play, Shakespeare Even this early in the play, Shakespeare has provided his audience with nuanced, has provided his audience with nuanced, literarily rich characters. They have literarily rich characters. They have layers. layers.

Lady Macbeth is a character in her own Lady Macbeth is a character in her own right, but so much more as well: the right, but so much more as well: the representation and voice of every dark representation and voice of every dark impulse her husband possesses, as well as impulse her husband possesses, as well as a sly vehicle for commentary on women’s a sly vehicle for commentary on women’s roles and conventional morality. roles and conventional morality.

Through her, Shakespeare can ask difficult Through her, Shakespeare can ask difficult questions about whether one’s personal questions about whether one’s personal loyalties should outweigh one another, or loyalties should outweigh one another, or whether said loyalties should outweigh whether said loyalties should outweigh one’s larger duties and responsibilities. one’s larger duties and responsibilities.

Every Man Has His PriceEvery Man Has His Price

If Lady Macbeth would argue in favor of If Lady Macbeth would argue in favor of personal loyalties and personal desires, personal loyalties and personal desires, Banquo would argue that one’s pre-Banquo would argue that one’s pre-established duties matter more, and that established duties matter more, and that the greater good should always outweigh the greater good should always outweigh one’s own desires. one’s own desires.

As Macbeth’s best friend, he represents As Macbeth’s best friend, he represents Macbeth’s connection to humanity (as his Macbeth’s connection to humanity (as his connection to Lady Macbeth is something connection to Lady Macbeth is something else entirely). else entirely).

But he also comes to embody everything But he also comes to embody everything about Macbeth that we would have once about Macbeth that we would have once respected. respected.

The Heir of Empty BreathThe Heir of Empty Breath

When Macbeth meets him in darkness – identifying When Macbeth meets him in darkness – identifying himself as a friend – it’s really the last chance the himself as a friend – it’s really the last chance the former has to see his better nature and break away former has to see his better nature and break away from his plan. from his plan.

But he doesn’t: he schemes in plain sight of his But he doesn’t: he schemes in plain sight of his best friend, and Banquo – his better nature – is so best friend, and Banquo – his better nature – is so troubled by the witches’ words that he doesn’t troubled by the witches’ words that he doesn’t recognize how far Macbeth’s willing to go until it’s recognize how far Macbeth’s willing to go until it’s too late. too late.

Just as he did during the Sisters’ appearance, Just as he did during the Sisters’ appearance, Banquo sounds a note of caution: he pledges here Banquo sounds a note of caution: he pledges here that he’ll serve Macbeth loyally, but that he won’t that he’ll serve Macbeth loyally, but that he won’t betray his king. betray his king. These two pledges are, of course, incompatible. These two pledges are, of course, incompatible.

And when Macbeth murders him after taking the And when Macbeth murders him after taking the throne, Banquo’s ghost haunts the hall; the king is throne, Banquo’s ghost haunts the hall; the king is haunted by nothing less than the virtues he’s haunted by nothing less than the virtues he’s forsaken, embodied by the connection to humanity forsaken, embodied by the connection to humanity he’s figuratively and literally severed. he’s figuratively and literally severed.

The Loosing of the ShadowThe Loosing of the Shadow

One quickly senses while reading One quickly senses while reading MacbethMacbeth that a great deal of staging and blocking that a great deal of staging and blocking (the pre-arranged positions, poses, and (the pre-arranged positions, poses, and movements for the actors) never made it movements for the actors) never made it into print. into print.

The play derives a great deal of meaning The play derives a great deal of meaning through body language and tone of voice, through body language and tone of voice, but what’s obvious on stage doesn’t but what’s obvious on stage doesn’t always come across well in print, always come across well in print, especially if one struggles to understand especially if one struggles to understand Shakespeare’s dialogue. Shakespeare’s dialogue.

As the play progresses, these things As the play progresses, these things become more important, and a careful become more important, and a careful consideration of stage direction is consideration of stage direction is necessary in order to “get” some of the necessary in order to “get” some of the play’s biggest moments. play’s biggest moments.

What’s Left UnsaidWhat’s Left Unsaid

The opening conversation between Macbeth and The opening conversation between Macbeth and Banquo is much nervier than the words imply; Banquo is much nervier than the words imply; Banquo’s so jumpy that, upon hearing Macbeth Banquo’s so jumpy that, upon hearing Macbeth approach, he grabs his sword back from Fleance approach, he grabs his sword back from Fleance and holds it at the ready. and holds it at the ready.

Contemporary readers may think this a perfectly Contemporary readers may think this a perfectly normal response to the approach of an unknown normal response to the approach of an unknown figure under cover of total darkness. figure under cover of total darkness.

Remember, however, that this takes place Remember, however, that this takes place in in Macbeth’s castle.Macbeth’s castle.

It’s supposed to be safe there (per the “birds’ It’s supposed to be safe there (per the “birds’ nests” conversation in Act I’s sixth scene); why is nests” conversation in Act I’s sixth scene); why is Banquo so terrified? Banquo so terrified? It’s not due to the traumatic after-effects of the It’s not due to the traumatic after-effects of the

battles he fought earlier in the play; over a day has battles he fought earlier in the play; over a day has passed since passed since

Banquo’s wound himself up, and fear dulls his Banquo’s wound himself up, and fear dulls his “wise” instincts while heightening the others; he “wise” instincts while heightening the others; he doesn’t see “the serpent under the flower” until doesn’t see “the serpent under the flower” until it’s too late. it’s too late.

Follow Your InstinctsFollow Your Instincts

Distorted perceptions played a role in Distorted perceptions played a role in Siddhartha Siddhartha (maya/satyam), and with Macbeth’s impending (maya/satyam), and with Macbeth’s impending descent into hallucination-fueled paranoia, we descent into hallucination-fueled paranoia, we know they’ll be important here too. know they’ll be important here too.

But it’s important to note that But it’s important to note that nobodynobody sees sees Macbeth “as he truly is” – not Duncan, not Macbeth “as he truly is” – not Duncan, not Banquo, not even Lady Macbeth. Banquo, not even Lady Macbeth.

Macduff, who we meet shortly, quickly sheds his Macduff, who we meet shortly, quickly sheds his preconceptions regarding the new king, but even preconceptions regarding the new king, but even he sees Macbeth as nothing but a simple villain – he sees Macbeth as nothing but a simple villain – a monster, a creature of pure evil. a monster, a creature of pure evil.

Macbeth is seen differently by everyone who sees Macbeth is seen differently by everyone who sees him, and the only times we really get a sense of him, and the only times we really get a sense of his true self are when Shakespeare allows him to his true self are when Shakespeare allows him to lapse into soliloquy. lapse into soliloquy.

Red Pill, Blue PillRed Pill, Blue Pill

One of his most famous soliloquies One of his most famous soliloquies happens immediately after that tense, happens immediately after that tense, charged conversation with Banquo – in charged conversation with Banquo – in plain view of his son – comes to a close. plain view of his son – comes to a close.

Macbeth sees a dagger, weeping blood, Macbeth sees a dagger, weeping blood, floating towards him in the otherwise floating towards him in the otherwise empty air. empty air.

There’s a lot of business about There’s a lot of business about masculinity as it relates to strength, and masculinity as it relates to strength, and the phallic undertones of the dagger grow the phallic undertones of the dagger grow more overt as Macbeth contemplates both more overt as Macbeth contemplates both the vision-weapon and his own. the vision-weapon and his own.

Does Macbeth take control, as his wife Does Macbeth take control, as his wife insists a man must, and wield the blade? insists a man must, and wield the blade?

What You’ll Never SeeWhat You’ll Never See

What, indeed, defines a man? What, indeed, defines a man? Macbeth says he won’t do more than one should, Macbeth says he won’t do more than one should,

for one whose ambitions outweigh what’s for one whose ambitions outweigh what’s expected of him as a man relinquishes all claims expected of him as a man relinquishes all claims of being one. of being one.

But is this a situation where those ambitions are But is this a situation where those ambitions are the only means he has of “being a man”? the only means he has of “being a man”?

Does he even have a choice? Does he even have a choice? Can he choose not to kill when the witches tell Can he choose not to kill when the witches tell

him he will be king, when his wife demands that him he will be king, when his wife demands that he he must must be king, when even the air sprouts be king, when even the air sprouts blades and drips blood before his very eyes while blades and drips blood before his very eyes while he’s alone? he’s alone?

What’s the alternative? What’s the alternative? Where can he escape? Where can he escape?

No World for TomorrowNo World for Tomorrow

Macbeth’s alone in the room, yet Shakespeare’s Macbeth’s alone in the room, yet Shakespeare’s staging and dialogue pace gives the audience an staging and dialogue pace gives the audience an overwhelming impression of a trapped man, hemmed overwhelming impression of a trapped man, hemmed in on all sides but one, and with only one path to in on all sides but one, and with only one path to take. take.

Macbeth frantically tries to summon his resolve as the Macbeth frantically tries to summon his resolve as the bell tolls outside (the sign for him to commit the bell tolls outside (the sign for him to commit the crime), and he leaves the stage. crime), and he leaves the stage.

The bell tolls even as the scene ends; Macbeth says The bell tolls even as the scene ends; Macbeth says that it’s to herald Duncan’s departure, either his that it’s to herald Duncan’s departure, either his ascent to heaven or descent to hell, but we know it ascent to heaven or descent to hell, but we know it really signals really signals Macbeth’sMacbeth’s descent. descent.

Dante may be able to venture into the depths of hell Dante may be able to venture into the depths of hell and come out on the other side stronger for it; divine and come out on the other side stronger for it; divine love sent him, and divine love guides him. love sent him, and divine love guides him.

Macbeth’s acting according to the words of witches Macbeth’s acting according to the words of witches and the demands of his wife, who nobody would and the demands of his wife, who nobody would mistake for representing divinity; he, too, will stare mistake for representing divinity; he, too, will stare into the abyss, but he’s never coming back. into the abyss, but he’s never coming back.

SummoningSummoning

The second scene, too, is a masterpiece of The second scene, too, is a masterpiece of staging. staging.

It takes place in the Macbeths’ bedroom, It takes place in the Macbeths’ bedroom, normally a place of intimacy and love. normally a place of intimacy and love.

Where better to set a furious argument over Where better to set a furious argument over murder and betrayal, complete with both murder and betrayal, complete with both principals covered in their victim’s blood? principals covered in their victim’s blood?

Lady Macbeth tells the audience that she’s done Lady Macbeth tells the audience that she’s done her job – drugging the guards, unlocking her job – drugging the guards, unlocking Duncan’s doors for her husband, lovingly Duncan’s doors for her husband, lovingly arranging the daggers for him to use, and ringing arranging the daggers for him to use, and ringing the bell to tell him that the coast is clear. the bell to tell him that the coast is clear.

With particular relish, she says she would have With particular relish, she says she would have simply stabbed him herself if he hadn’t reminded simply stabbed him herself if he hadn’t reminded her so strongly of her father. her so strongly of her father.

Paint the Shadows Red and BlackPaint the Shadows Red and Black

Never Feel ForgivenNever Feel Forgiven But this isn’t meant to simply make us shiver, or But this isn’t meant to simply make us shiver, or

to underscore Lady Macbeth’s vileness. to underscore Lady Macbeth’s vileness. In an instant, Macbeth appears in panic mode, In an instant, Macbeth appears in panic mode,

covered with blood, clutching both daggers, the covered with blood, clutching both daggers, the very picture of obvious guilt – a complete very picture of obvious guilt – a complete contrast to the cool, collected plotting of his contrast to the cool, collected plotting of his wife. wife.

For someone who’s just murdered his king and For someone who’s just murdered his king and guest in his sleep, Macbeth somehow seems guest in his sleep, Macbeth somehow seems blameless; we watch him rant and rave, clearly blameless; we watch him rant and rave, clearly not reveling in his triumph, and extend our not reveling in his triumph, and extend our sympathy. sympathy.

He’ll lose that sympathy quickly enough, but He’ll lose that sympathy quickly enough, but here, for the last time in the entire play, Macbeth here, for the last time in the entire play, Macbeth strikes us as a human being, fragile and strikes us as a human being, fragile and frightened and filled with regret for his crime. frightened and filled with regret for his crime.

Decide Your SideDecide Your Side Without that initial impression of Lady Without that initial impression of Lady

Macbeth to provide us with a direct Macbeth to provide us with a direct contrast, an audience won’t react that contrast, an audience won’t react that way. way.

But Shakespeare shows us a figure who But Shakespeare shows us a figure who speaks pure evil, lets us reject her, and speaks pure evil, lets us reject her, and then compares his tragic protagonist with then compares his tragic protagonist with her in an amazingly deft bit of narrative her in an amazingly deft bit of narrative manipulation.manipulation.

Conventional definitions of evil fall apart Conventional definitions of evil fall apart here; if asked whether Lady Macbeth or here; if asked whether Lady Macbeth or Macbeth is more “evil,” which do you Macbeth is more “evil,” which do you choose?choose?

Are we defined by who we are, or what we Are we defined by who we are, or what we do?do?

The Seas IncarnadineThe Seas Incarnadine Lady Macbeth’s willingness to take control of the Lady Macbeth’s willingness to take control of the

situation by taking the daggers, stabbing Duncan situation by taking the daggers, stabbing Duncan again (she needs more blood), smearing the again (she needs more blood), smearing the blood on the guards, and planting the daggers on blood on the guards, and planting the daggers on their sleeping forms only reinforces the contrast their sleeping forms only reinforces the contrast with her husband. with her husband.

Macbeth bemoans that all the waters of the Macbeth bemoans that all the waters of the world could not clean his hands of their crimes – world could not clean his hands of their crimes – that if he were to dip them in the ocean, the that if he were to dip them in the ocean, the ocean would turn red, and his hands would ocean would turn red, and his hands would remain unclean. remain unclean.

This image will prove important in Act V; Lady This image will prove important in Act V; Lady Macbeth may scorn Macbeth’s “white heart,” but Macbeth may scorn Macbeth’s “white heart,” but her line about a little water “clearing [them] of her line about a little water “clearing [them] of this deed” is more fateful than she can imagine.this deed” is more fateful than she can imagine.

Sleep No MoreSleep No More Shakespeare continues playing with the control Shakespeare continues playing with the control

concept later in the scene, during a small speech concept later in the scene, during a small speech by Macbeth about sleep (which we know will take by Macbeth about sleep (which we know will take on greater importance in retrospect). on greater importance in retrospect).

By “murdering sleep,” Macbeth has denied By “murdering sleep,” Macbeth has denied himself the “balm of hurt minds,” leaving himself himself the “balm of hurt minds,” leaving himself without the “chief nourisher in life’s feast.” without the “chief nourisher in life’s feast.”

He is doomed to walk without rest, work without He is doomed to walk without rest, work without peace, live without any sense of security. peace, live without any sense of security.

This is, of course, the logical consequence of his This is, of course, the logical consequence of his actions. actions.

Yet it’s one he doesn’t see coming; he pays no Yet it’s one he doesn’t see coming; he pays no attention to what will happen beyond the attention to what will happen beyond the immediate result of his choice because there’s no immediate result of his choice because there’s no thought behind what he does. thought behind what he does.

PuppetPuppet By essentially submitting to the demands By essentially submitting to the demands

of others – making a puppet of himself – of others – making a puppet of himself – Macbeth puts himself in a position where Macbeth puts himself in a position where he must constantly react to surprising he must constantly react to surprising circumstances. circumstances.

He’ll try to take back control, to get out in He’ll try to take back control, to get out in front of fate, later, but those attempts will front of fate, later, but those attempts will prove disastrous. prove disastrous.

Essentially, Macbeth’s damned if he does, Essentially, Macbeth’s damned if he does, and damned if he doesn’t; once you and damned if he doesn’t; once you relinquish control, it’s pretty hard to get it relinquish control, it’s pretty hard to get it back. back.

Stumbling DrunkStumbling Drunk When we begin Scene III, we meet a figure who’s When we begin Scene III, we meet a figure who’s

out of control for a different reasonout of control for a different reason Like Hesse, Shakespeare uses inebriation for effect Like Hesse, Shakespeare uses inebriation for effect

here. here. We’re introduced to the Porter, a doorkeeper of We’re introduced to the Porter, a doorkeeper of

sorts, who’s had far too much to drink and sorts, who’s had far too much to drink and behaves in a deeply inappropriate fashion behaves in a deeply inappropriate fashion towards Macbeth’s guests. towards Macbeth’s guests.

At first, this seems to be a “pacing sequence” – At first, this seems to be a “pacing sequence” – something to break up the unrelenting doom and something to break up the unrelenting doom and gloom of the tragedy, and one could be excused gloom of the tragedy, and one could be excused for seeing it as such considering its specific place for seeing it as such considering its specific place in the play’s structure. in the play’s structure.

But the Porter isn’t just there for comedy’s sake, But the Porter isn’t just there for comedy’s sake, and Macduff’s introduction here isn’t randomly and Macduff’s introduction here isn’t randomly placed. placed.

Fate InebriatesFate Inebriates Instead, we should notice two things about the Instead, we should notice two things about the

exchange. exchange. Firstly, we have the “fair is foul” motif once Firstly, we have the “fair is foul” motif once

more, when the Porter talks about what more, when the Porter talks about what excessive drink brings and what it removes. excessive drink brings and what it removes.

The overriding message is that drink brings The overriding message is that drink brings fleeting joy – that the removal of control allows fleeting joy – that the removal of control allows us to fantasize more wildly and take more us to fantasize more wildly and take more chances – but that the drinker ultimately suffers. chances – but that the drinker ultimately suffers.

It’s impossible to hear the Porter talk about drink It’s impossible to hear the Porter talk about drink and not think about how Macbeth’s behavior has and not think about how Macbeth’s behavior has changed following his encounter with the Weïrd changed following his encounter with the Weïrd Sisters. Sisters.

By getting drunk on fate and relinquishing By getting drunk on fate and relinquishing control, Macbeth has allowed himself to be control, Macbeth has allowed himself to be “given the lie” by his dreams – which inevitably “given the lie” by his dreams – which inevitably “leave him.” “leave him.”

The Primrose WayThe Primrose Way At the scene’s outset, the Porter pretends At the scene’s outset, the Porter pretends

to be the gatekeeper for Hell itself. to be the gatekeeper for Hell itself. Obviously, he’s closer to correct than even Obviously, he’s closer to correct than even

he suspects. he suspects. In a truly chilling line, he says that he In a truly chilling line, he says that he

intended to let in those “who [went] the intended to let in those “who [went] the primrose way to th’ everlasting bonfire” – primrose way to th’ everlasting bonfire” – those whose choices take them to Hell – those whose choices take them to Hell – just before he lets in Macduff. just before he lets in Macduff.

Considering what happens as a result of Considering what happens as a result of Macduff’s choices later in the play, it Macduff’s choices later in the play, it would seem that the Porter has done what would seem that the Porter has done what he set out to do. he set out to do.

Disorder, DisorderDisorder, Disorder But Macduff, unlike the Sisters, has no But Macduff, unlike the Sisters, has no

sense of what his future holds. sense of what his future holds. He has a brief, friendly conversation with He has a brief, friendly conversation with

Macbeth (the friendliness is one-sided; Macbeth (the friendliness is one-sided; Macbeth is still agitated following the Macbeth is still agitated following the murder) and goes into the castle, where murder) and goes into the castle, where he’ll discover the king’s corpse almost he’ll discover the king’s corpse almost immediatelyimmediately

We only have enough time to learn that We only have enough time to learn that earthquakes have hit Scotland and that earthquakes have hit Scotland and that the night has been filled with endless the night has been filled with endless screaming before he storms back out. screaming before he storms back out.

It Only Gets WorseIt Only Gets Worse The next sequence is just about the only The next sequence is just about the only

time where Macbeth reacts effectively and time where Macbeth reacts effectively and immediately to shifting circumstances. immediately to shifting circumstances.

As soon as Macduff returns, Macbeth As soon as Macduff returns, Macbeth grabs the former’s servant (he needs a grabs the former’s servant (he needs a witness) and charges off. witness) and charges off.

Lady Macbeth appears, hears the news, Lady Macbeth appears, hears the news, and (buying her husband time) swoons and (buying her husband time) swoons dramatically. dramatically.

While the men are distracted by the While the men are distracted by the damsel in distress, Macbeth pretends to damsel in distress, Macbeth pretends to be overcome with rage (for Lennox’s be overcome with rage (for Lennox’s benefit) and kills the guards as they’re benefit) and kills the guards as they’re waking up. waking up.

Holding One’s TongueHolding One’s Tongue When Macbeth comes back, he’s the one When Macbeth comes back, he’s the one

to inform Malcolm and Donalbain that to inform Malcolm and Donalbain that their father’s been murdered; to everyone their father’s been murdered; to everyone but Macduff, he looks genuinely but Macduff, he looks genuinely aggrieved. aggrieved.

Macduff is suspicious of his guard-Macduff is suspicious of his guard-slaughter – even the Thane of Cawdor, slaughter – even the Thane of Cawdor, caught in the act of his crime, had to caught in the act of his crime, had to testify before his execution. testify before his execution. Why kill the guards before they can explain Why kill the guards before they can explain

why “they” did what they’d done? why “they” did what they’d done? But those suspicions are nebulous, based But those suspicions are nebulous, based

more on guts than analysis, and Macduff more on guts than analysis, and Macduff is intelligent enough not to voice them in is intelligent enough not to voice them in Macbeth’s stronghold. Macbeth’s stronghold.

Things Fall ApartThings Fall Apart Thus the crime is perfectly set up, carried out, Thus the crime is perfectly set up, carried out,

and sealed off: no witnesses but the criminals and sealed off: no witnesses but the criminals themselves, and (thanks to the previously-themselves, and (thanks to the previously-discussed departures of Malcolm and Donalbain, discussed departures of Malcolm and Donalbain, fleeing the “daggers in men’s smiles”) no one fleeing the “daggers in men’s smiles”) no one left to keep Macbeth from the throne. left to keep Macbeth from the throne.

When Act II closes on a short scene of disorder – When Act II closes on a short scene of disorder – men talking of owls killing falcons, horses eating men talking of owls killing falcons, horses eating each other, and the choking, endless night, each other, and the choking, endless night, shortly before Macduff returns home to Fife, the shortly before Macduff returns home to Fife, the scene of the Norwegian invasion – it appears that scene of the Norwegian invasion – it appears that Macbeth has followed Fate’s dictates and won a Macbeth has followed Fate’s dictates and won a treasure outstripping his wildest dreams. treasure outstripping his wildest dreams.

But three acts remain, and it never gets better But three acts remain, and it never gets better for Macbeth than it does here. for Macbeth than it does here.