Macbeth Act 4, Scene 3 England. Before the King's palace summary and analysis

Act IV: Scene 2

 

Summary

In Macduff's castle in Fife, Lady Macduff comforts and is comforted by her young son, who displays a courage beyond his years when confronted with the possibility that his father has turned traitor. Although warned by the Thane of Ross to escape before it is too late, Lady Macduff is encountered by Macbeth's henchmen, who brutally kill first her child and (as the audience learns in the following scene) her.

Analysis

This scene and the next should be considered together, for both deal with the question of treachery and loyalty, and both consider the nature of genuine courage, as opposed to the arrogant bravado of Macbeth.

Here is a woman apparently abandoned by her husband. She has been left to fend for her children like a mother bird in the nest. Even the tiny wren would show more spirited defense of her own family against a predator than Macduff has done, she argues. Her conclusion can be only that her husband "wants the natural touch" — that is, he lacks human kindness. It's interesting to hear in this phrase an ironic echo of the words of Lady Macbeth, who accused her husband of having precisely too much of "the milk of human kindness."

Ross' speech diverts Lady Macduff's justifiable anger away from her husband, whom he calls "noble, wise, judicious," toward the cruelty of the circumstances in which the country as a whole finds itself. The terror of Macbeth's Scotland is that no one can be sure of another's loyalty or treachery "when we are traitors, / And do not know ourselves; when we hold rumour / From what we fear, yet know not what we fear" (18-20).

Left on their own, Lady Macduff and her son converse further on the subject of her husband's loyalty. To her, Macduff has acted dishonestly, but her son, however naïve his view of the world, comforts her by his practical statement that the world is full of dishonest men. The entry of another messenger increases the urgency of the scene. Left on her own once more, Lady Macduff reflects, as Ross did, on the unpredictability and topsy-turvy nature of human society where "to do harm" is praiseworthy and to do good is dangerous.

The audience should not be surprised, given the direct and courageous speech of the young boy in his conversation with his mother, at the spirited defense he puts up against the murderers. His words ("Thou liest, thou shag-haired villain") foreshadow those of the brave Young Siward to Macbeth in Act V, Scene 7 ("Thou liest, abhorred tyrant") and remind us of the indomitable spirit of honor and justice that must ultimately prevail.

Glossary

coz (14) cousin

lime (34) bird lime (a sticky substance for trapping birds)

gin (35) trap

enow (56) enough

I doubt (66) I am concerned

savage (69) bold

fell (70) terrible

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Macbeth Act 4, Scene 1: A cavern. In the middle, a boiling cauldron summary and analysis

Act IV: Scene 1

Summary

Macbeth returns to the Weird Sisters and boldly demands to be shown a series of apparitions that tell his future. The first apparition is the disembodied head of a warrior who seems to warn Macbeth of a bloody revenge at the hands of Macduff. The second is a blood-covered child who comforts Macbeth with the news that he cannot be killed by any man "of woman born." The third is a child wearing a crown, who promises that Macbeth cannot lose in battle until Birnam wood physically moves toward his stronghold at Dunsinane.

Encouraged by the news of such impossibilities, Macbeth asks, "Shall Banquo's issue ever reign in this kingdom?" The Witches present an image of a ghostly procession of future kings, led by Banquo. All this serves only to enrage Macbeth, who, trusting in his own pride, reveals in an aside to the audience his determination to slaughter the family of Macduff.

Analysis

This scene can be roughly divided into three: the Witches' casting of a spell; the supernatural answers to Macbeth's demands; and Macbeth's return to the cold world of political and social reality. The scene's structure deliberately recalls the opening scenes of the play. Once more, Macbeth's destiny is in question. Once more, he receives three prophecies. Once more, he is left on his own to decide how best to interpret those prophecies. And once more he fails to understand that Fate is inevitable, however he chooses to act.

The Witches' charm is fantastic: Its ingredients, thrown into a bubbling cauldron, are all poisonous. Moreover, these ingredients are all the entrails or body parts of loathed animals or human beings, which, taken together, can be interpreted as making a complete monster: tongue, leg, liver, lips, scales, teeth, and so on. The strong implication is that Macbeth himself is no longer a complete human being; he himself has become a half-man, half-monster, a kind of chimera.

Macbeth arrives at the Witches' lair with extraordinary boldness, knocking at the entrance in a way that ironically recalls the entry of Macduff into Macbeth's castle in Act II, Scene 3. When he "conjures" the Witches to answer him, his language is uncompromising: He matches their power with a powerful curse of his own, demanding to have an answer even if it requires the unleashing of all the elements of air, water, and earth; even if all the universe — natural or manmade — "tumble" into ruin. His most defiant act, by far, is to desire to hear the prophecy of his future not from the Witches, who are themselves only "mediums" of the supernatural, but from their "masters," that is, the controlling Fates.

Macbeth's demand is answered by a sequence of apparitions. Unlike the dagger and Banquo's ghost, these supernatural visions cannot be simply the workings of Macbeth's "heat-oppress'd brain." They are definitely summoned by the Witches. Once again, the audience is required to assess the extent to which Macbeth is responsible for his own actions. What is certain is Macbeth's response to each prophetic apparition: He appears to be super-confident, even flippant, in his replies. There is little fear or respect, for example, in his reply to the First Apparition: "Whate'er thou art, for thy good caution, thanks." And his punning reply to the Second Apparition's "Macbeth, Macbeth, Macbeth" — "Had I three ears, I'd hear thee" — displays a comic arrogance.

Apart from the first, all the apparitions, including the fourth and final one of a procession of future kings, contain children. The juxtaposition of children (pictures of innocence) and images of death, warfare, and blood, is dramatic and terrifying, but especially so for Macbeth: For a man who has no offspring, the image of children can only fill him with hatred and loathing.

Having rejected as impossible the second two prophecies, Macbeth asks for one last favor. The result appalls him, drawing all strength from him and reducing his earlier courage. The children who appear in this procession are the children of Fleance. The reflected light of their golden crowns "does sear (cut into) mine eye-balls" and causes his eyes to jump from their sockets. The climax to Macbeth's reaction occurs in the line "What! will the line (of inheritance) stretch out to the crack of doom?" in which he finally realizes the possibility of an entirely Macbethless future.

In a scene rich with special effects — thunder, ghosts and (possibly flying) Witches — Shakespeare adds a final visual stroke: The eighth child-king carries a mirror that reflects the faces of many more such kings. The effect of infinite regression can be achieved by looking at a mirror while holding a smaller mirror in your hand in which the reflection is reflected.

The Witches confirm the inevitability of what Macbeth has seen: "Ay sir, all this is so." There can be no equivocation, no argument, with Fate.

Emerging into the cold light of day, Macbeth seems immediately to forget the final prophecy, as he returns to the practicalities of what is increasingly a battle for his own political survival. On being informed that Macduff has fled to England, he announces his intention to wreak a terrible revenge on Macduff's wife and children.

Glossary

brinded (1) streaked

fenny (12) living in the marshes

howlet (17) young owl

yesty (53) frothing

lodg'd (55) beaten down

germens (59) seeds

farrow (65) litter of pigs

harp'd (74) guessed

impress (95) force

mortal custom (100) usual lifespan

crack of doom (117) Day of Judgment

antic round (130) mad dance

this great King (131) possibly a reference to James I (the king in Shakespeare's audience)

flighty . . . with it (145) Unless acted upon immediately intentions may be overtaken by time.

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