Macbeth: Macbeth: A Strange ExhilarationA Strange Exhilaration

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12 November 201312 November 2013

Macbeth’sMacbeth’s first act ends on a note of first act ends on a note of moral darkness. moral darkness.

Its second act begins in literal Its second act begins in literal darkness, as Fleance (Banquo’s son) and darkness, as Fleance (Banquo’s son) and his father briefly note that the stars and his father briefly note that the stars and moon seem to have gone out. moon seem to have gone out.

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

We barely know him. We barely know him. We don’t understand what he wants We don’t understand what he wants

or needs. or needs. But neither does Macbeth. But neither does Macbeth.

The Weïrd Sisters’ words to The Weïrd Sisters’ words to Banquo only establish Fleance as a Banquo only establish Fleance as a threat, and because Macbeth doesn’t threat, and because Macbeth doesn’t know when his counterpart will take know when his counterpart will take power, how he will take it, or why he power, how he will take it, or why he will take it, that threat is amplified will take it, that threat is amplified by its ambiguity. by its ambiguity.

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

If Fleance is, by design, If Fleance is, by design, notnot the first the first scene’s focus, Banquo surely is. scene’s focus, Banquo surely is.

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

But while Govinda was content to be But while Govinda was content to be the shadow of greater men, Banquo’s the 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 constantly reminds us of the man Macbeth constantly reminds us of the man Macbeth was before he heard the witches’ words. was before he heard the witches’ words.

Before they meet the Sisters, the men Before they meet the Sisters, the men are much the same – two nobles of are much the same – two nobles of roughly equivalent stature, two close roughly equivalent stature, two close friends and brothers in arms who defend friends and brothers in arms who defend the same cause, etc. the same 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 – The Sisters oblige their requests – after attempting to refuse – by giving after attempting to refuse – by giving Banquo three sentences of his own (equal Banquo three sentences of his own (equal to Macbeth’s “prophecy”). to Macbeth’s “prophecy”).

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

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

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

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

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

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

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

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

If Lady Macbeth would argue in favor If Lady Macbeth would argue in favor of of personalpersonal loyalties and loyalties and personalpersonal desires, 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 wishes. one’s own wishes.

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

But he also comes to embody But he also comes to embody everything about Macbeth that we would everything about Macbeth that we would have once respected; their willingness to have once respected; their willingness to sacrifice personal gain for the greater sacrifice personal gain for the greater good, for example, saves Scotland from good, for example, saves Scotland from the Norwegians at the play’s beginning.the Norwegians at the play’s beginning.

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

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

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

These two pledges are, of These two pledges are, of course, incompatible. course, incompatible.

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

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

The play derives a great deal of The play derives a great deal of meaning through body language and tone meaning through body language and tone of voice, but what’s obvious on stage of voice, but what’s obvious on stage doesn’t always come across well in print, doesn’t 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.

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

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

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

It’s supposed to be safe there (per It’s supposed to be safe there (per the “birds’ nests” conversation in Act I’s the “birds’ nests” conversation in Act I’s sixth scene); why is Banquo so terrified? sixth scene); why is Banquo so terrified?

It’s not due to the traumatic after-It’s not due to the traumatic after-effects of the battles he fought earlier effects of the battles he fought earlier in the play; over a day has passed in the play; over a day has passed since.since.

No, Banquo’s wound himself up, and No, Banquo’s wound himself up, and too much so. too much so.

Paradoxically, fear dulls his “wise” Paradoxically, fear dulls his “wise” instincts while heightening the others; instincts while heightening the others; he doesn’t see “the serpent under the he doesn’t see “the serpent under the flower” until it’s too late, because the flower” until it’s too late, because the flower’s the only place he doesn’t flower’s the only place he doesn’t consider checking.consider checking.

We’ve studied distorted We’ve studied distorted perceptions such as these in our perceptions such as these in our earlier work with earlier work with Siddhartha. Siddhartha.

In that book, we played with In that book, we played with concepts of bent reality concepts of bent reality (maya/satyam) and time, (maya/satyam) and time, questioning whether our senses questioning whether our senses could be trusted to truly explain a could be trusted to truly explain a complicated universe. complicated universe.

Since we know Macbeth’s about Since we know Macbeth’s about to descend into hallucination-fueled to descend into hallucination-fueled paranoia, we know they’ll be paranoia, we know they’ll be important here too. important here too.

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

We certainly aren’t able to, for we can’t We certainly aren’t able to, for we can’t get a handle on his true goals, desires, or get a handle on his true goals, desires, or intentions.intentions.

To his credit, Macduff (whom we’ll meet To his credit, Macduff (whom we’ll meet shortly) quickly sheds his preconceptions shortly) quickly sheds his preconceptions regarding the soon-to-be king, but even he regarding the soon-to-be king, but even he comes to see Macbeth as nothing but a simple comes to see Macbeth as nothing but a simple villain – a depraved monster, a creature of pure villain – a depraved monster, a creature of pure evil. evil.

Macbeth is seen differently by everyone Macbeth is seen differently by everyone who sees him, and the only times we really get who sees him, and the only times we really get a sense of his true self are when Shakespeare a sense of his true self are when Shakespeare allows him to lapse into soliloquy; otherwise, allows him to lapse into soliloquy; otherwise, he’s a part of the he’s a part of the mayamaya that catches everyone that catches everyone in its hold here.in its hold here.

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.

Our conflicted protagonist – an odd Our conflicted protagonist – an odd but accurate term to ascribe to Macbeth but accurate term to ascribe to Macbeth – sees a dagger, weeping blood, floating – sees a dagger, weeping blood, floating towards him in the otherwise empty air. towards him in the otherwise 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 the phallic undertones of the dagger grow more overt as Macbeth grow more overt as Macbeth contemplates both the vision-weapon contemplates both the vision-weapon and his own. and his own.

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

What, indeed, defines a man? What, indeed, defines a man? At first blush, this shouldn’t be as difficult a At first blush, this shouldn’t be as difficult a

conversation to have as the one where we tried conversation to have as the one where we tried to define love.to define love.

Yet if there’s anything that people are Yet if there’s anything that people are worse at competently discussing and defining worse at competently discussing and defining than emotion, it seems to be gender and identity than emotion, it seems to be gender and identity issues.issues.

This is, perhaps, a consequence of living in This is, perhaps, a consequence of living in a society where too much art – not to mention a society where too much art – not to mention advertisements – actively denigrates women.advertisements – actively denigrates women.

But those same ads and art denigrate males But those same ads and art denigrate males as well; I can’t remember the last time a beer as well; I can’t remember the last time a beer commercial commercial didn’tdidn’t make me ashamed of men in make me ashamed of men in general.general.

One of the reasons I appreciate Lady One of the reasons I appreciate Lady Macbeth’s presence in this play is the specific Macbeth’s presence in this play is the specific way she challenges our expectations, both moral way she challenges our expectations, both moral and otherwise.and otherwise.

But I digress: Macbeth says he won’t But I digress: Macbeth says he won’t do more than a man should, for one whose do more than a man should, for one whose ambitions outweigh what’s expected of ambitions outweigh what’s expected of him as a man relinquishes all claims of him as a man relinquishes all claims of being one. being one.

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

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

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

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

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

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

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

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

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

Act II’s second scene is a masterpiece of Act II’s second scene 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 Where better to set a furious argument over murder and betrayal, complete with both over 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 Lady Macbeth tells the audience that she’s done her job – drugging the guards, unlocking done 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 arranging the daggers for him to use, and ringing the bell to tell him that the coast is ringing the bell to tell him that the coast is clear. clear.

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

Chilling as that sentiment may be, this Chilling as that sentiment may be, this isn’t meant to simply make us shiver, or to isn’t meant to simply make us shiver, or to underscore Lady Macbeth’s vileness. underscore Lady Macbeth’s vileness.

In an instant, Macbeth appears in panic In an instant, Macbeth appears in panic mode, covered with blood, clutching both mode, covered with blood, clutching both daggers, the very picture of obvious guilt – a daggers, the very picture of obvious guilt – a complete contrast to the cool, collected complete contrast to the cool, collected plotting of his wife. plotting of his wife.

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

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

Without that initial impression of Without that initial impression of Lady Macbeth to provide us with a direct Lady 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 But Shakespeare shows us a figure who speaks pure evil, lets us reject her, who speaks pure evil, lets us reject her, and then compares his tragic protagonist and then compares his tragic protagonist with her in an amazingly deft bit of with her in an amazingly deft bit of narrative manipulation.narrative manipulation.

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

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

Lady Macbeth’s willingness to take Lady Macbeth’s willingness to take control of the situation by taking the control of the situation by taking the daggers, stabbing Duncan again (she daggers, stabbing Duncan again (she needs more blood), smearing the blood on needs more blood), smearing the blood on the guards, and planting the daggers on the guards, and planting the daggers on their sleeping forms only reinforces the their sleeping forms only reinforces the contrast with her husband. contrast with her husband.

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

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

Shakespeare continues playing with the Shakespeare continues playing with the control concept later in the scene, during a small control concept later in the scene, during a small speech by Macbeth about sleep (which we know speech by Macbeth about sleep (which we know will take on greater importance in retrospect). will take 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 He is doomed to walk without rest, work without peace, live without any sense of security. without peace, live without any sense of security.

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

Yet it’s one he doesn’t see coming; he pays Yet it’s one he doesn’t see coming; he pays no attention to what will happen beyond the no 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.

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

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

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

Control and its loss stay on our Control and its loss stay on our minds when we begin Scene III, minds when we begin Scene III, where we meet a figure who’s out of where we meet a figure who’s out of control for a different reason.control for a different reason.

Much like Hesse, Shakespeare Much like Hesse, Shakespeare uses inebriation for effect here. uses inebriation for effect here.

We’re introduced to the Porter, a We’re introduced to the Porter, a doorkeeper of sorts, who’s had far doorkeeper of sorts, who’s had far too much to drink and behaves in a too much to drink and behaves in a deeply inappropriate fashion deeply inappropriate fashion towards Macbeth’s guests.towards Macbeth’s guests.

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

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

Instead, we should notice two Instead, we should notice two things about the exchange. things about the exchange.

Firstly, we have the “fair is foul” Firstly, we have the “fair is foul” motif once more, when the Porter motif once more, when the Porter talks about what excessive drink talks about what excessive drink brings and what it removes. brings and what it removes.

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

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

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

At the scene’s outset, the Porter At the scene’s outset, the Porter pretends to be the gatekeeper for Hell pretends to be the gatekeeper for Hell itself. itself.

Obviously, he’s closer to correct than Obviously, he’s closer to correct than even he suspects. even 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 Considering what happens as a result of Macduff’s choices later in the play, it of 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.

But Macduff, unlike the Sisters, But Macduff, unlike the Sisters, has no sense of what his future has no sense of what his future holds. holds.

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

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

The next sequence is just about the The next sequence is just about the only time where Macbeth reacts only time where Macbeth reacts effectively and immediately to shifting effectively and immediately to shifting circumstances. 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 Lady Macbeth appears, hears the news, and (buying her husband time) news, and (buying her husband time) swoons dramatically. swoons 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.

When Macbeth comes back, he’s the When Macbeth comes back, he’s the one to inform Malcolm and Donalbain one to inform Malcolm and Donalbain that their father’s been murdered; to that their father’s been murdered; to everyone but Macduff, he looks everyone but Macduff, he looks genuinely aggrieved. genuinely 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 perfunctorily testify before his perfunctorily testify before his execution. execution.

Why kill the guards before they can Why kill the guards before they can explain why “they” did what they’d explain why “they” did what they’d done? done?

But those suspicions are nebulous, But those suspicions are nebulous, based more on gut feel than on based more on gut feel than on convincing analysis, and Macduff is convincing analysis, and Macduff is intelligent enough not to voice them intelligent enough not to voice them while he’s in Macbeth’s stronghold. while he’s in Macbeth’s stronghold.

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

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

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