Macbeth Act 2, Scene 4: Outside Macbeth's castle summary and analysis

Act II: Scene 4

Summary

On his way from the castle, the Thane of Ross encounters an Old Man, who confirms the widespread reports of disruption in the natural world. Macduff appears with fresh news that Duncan is buried, that his sons have fled, and that the kingship has passed to Macbeth. The opening prophecies of the Witches have been completed.

Analysis

Like the Witches, the Old Man is a traditional figure in many works of literature. In contrast to the Witches' vision of what will be, the old man exemplifies the certainty of what has been: The notion of age, tradition and natural continuity, as well as wisdom are all bound up in this single figure. In words that recall those of the much younger Lennox in the previous scene, the old man describes how the world that he knows and trusts has been turned on its head. All the named events are not simply natural disasters; they are reversals of the expected natural order: Daylight has been replaced by night; a falcon (a bird of prey) has been killed by an owl, a much smaller creature; and the horses of the king's stables are said to have eaten each other.

The entry of Macduff allows Shakespeare to consolidate the first half of the play and to confirm that Macbeth has been named king and has already gone to Scone, the traditional place of coronation for Scottish kings, to be crowned. The imagery of this scene acts partly as a bridge between the first half of the play and the second. It recalls the first soliloquy of Lady Macbeth in Act I, Scene 5 ("Come, you Spirits"), and it foreshadows the language at the end of Act III, Scenes 2 and 3, concerning the murder of Banquo. The subplot of this second murder forms the basis of the whole of the next act.

Glossary

trifled (4) made trivial

travelling lamp (7) the sun

minions of their race (15) best of their breed

suborn'd (24) bribed

ravin (28) eat up

benison (40) blessing

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Macbeth summary and analysis Act 2, Scene 3: The same 2 Court of Macbeth's castle

Act II: Scene 3

Summary

The knocking continues, but the porter does not immediately open the door. Instead, he plays a game with himself in which he imagines himself as the porter of hell and jokes about the kind of sinners he might let in. Eventually, however, he opens the door to Lennox and Macduff, who have been commanded to call upon the king to arrange the royal departure. It is early morning, and most of those in the castle are still asleep. One who is not is Macbeth, and he directs Macduff to the king's chamber. Only a moment passes before the news breaks: King Duncan has been murdered.

On hearing the terrible revelation, the Macbeths' acts are beyond suspicion, but Macbeth admits to having killed the guards of the King's chamber — not part of the original plan — and Lady Macbeth faints. The assembled thanes of Scotland resolve to avenge the act of treason. Duncan's sons, Malcolm and Donalbain, thinking themselves open to the charge of murdering their father, plan to flee to England and Ireland.

Analysis

This busy scene begins with a moment of light comedy, which serves to heighten the suspense. The porter of Macbeth's castle, drunk from the previous night's revels, complains that his job is worse than that of the porter of hell. In a private game with the audience, he engages in a piece of stand-up comedy in which he imagines himself as that beleaguered servant, opening and closing the gate on the damned. The first two examples he uses (that of a farmer and an equivocator) have specific religious and historical connotations. A few months before Macbeth was performed at court in front of the Protestant King James I, the infamous Gunpowder Plot (the aim of which was to murder the English king) took place. The conspirators, including Guy Fawkes, may have been encouraged by a Catholic convert called John Garnett, whose nickname was "farmer." The practice of lying in court about one's religion by employing confusing or ambiguous language was known as equivocation. Many examples of ambiguous language are heard throughout Macbeth, and of course the words of the Witches themselves are not entirely clear. So the porter's examples are not entirely without significance, even though they may be unintentional.

The humor continues when the porter unbolts the door to Macduff and Lennox and offers a series of bawdy jokes, momentarily distracting the audience from the fact that Macbeth must at this very moment be washing his hands of the blood of the previous scene. Then Macbeth enters, apparently at ease, to direct Macduff to the king's room.

While Macduff goes to wake the king, Lennox remarks upon the extraordinary weather of the previous night. His catalogue of unnatural events — high winds, screaming and wailing voices, the calling of birds, and tremors in the earth — is apocalyptic in character and suggests a direct connection between the events of the universe at large and the events within the castle. Macbeth's response — "@'Twas a rough night" — is so anticlimactic as to provoke incredulity. Is Lennox's subsequent line — "My young remembrance cannot parallel / A fellow to it" (64-65) — intended to be spoken with puzzlement at Macbeth's reaction?

At this moment, the dam breaks. Note that the literal truth of Macduff's announcement — "Our royal master's murdered" — is preceded by several lines in which the murder is depicted in a figurative or metaphorical fashion, almost as if Macduff dare not name the deed: "Murther hath broke ope / The Lord's anointed Temple," "destroy your sight / With a new Gorgon," and "see / The great doom's image!" It's interesting to compare these lines of Macduff's, spoken in all innocence, with those of the all-too-guilty Macbeth, who also approaches the matter metaphorically: "The wine of life is drawn . . . " and "The spring, the head, the fountain of your blood / Is stopp'd . . . ."

Excusing his own outburst of passion in killing the guards of the king's chamber, Macbeth explains that he could not act otherwise when he saw the king: "Here lay Duncan, / His silver skin laced with his golden blood; / And his gashed stabs looked like a breach in nature / For ruin's wasteful entrance" (113-116). That Macbeth cannot refrain from the use of metaphor may be an indication that he, too, cannot bear to consider the bloody truth. His words are at once highly poetic and, at the same time, enormously revealing of the deep ironies of which Macbeth must be aware. Not only has he "murdered sleep," but he has destroyed the actual fabric of nature.

For whatever reason — perhaps because Lady Macbeth thinks that Macbeth's powerfully rhetorical speech is the precursor to an admission of their combined guilt — she suddenly faints. Certainly, as soon as she is carried from the stage, the pace changes. There is no more time for speculation: Macbeth and the other thanes rapidly swear to meet "in manly readiness" to avenge this act of "treasonous malice." Malcolm and Donalbain alone remain to voice their understandable concerns: Their semi-proverbial sentences "To show an unfelt sorrow is an office / Which the false man does easy" (138-139) and "Where we are / There's daggers in men's smiles" (141-142) both uncomfortably recall the language of earlier scenes.

Glossary

old (2) frequent

napkins (6) handkerchiefs

equivocator (9) liar

hose (14) trousers

made a shift to cast him (40) with effort I overpowered the drink

Gorgon (71) hideous monster than turns beholders to stone

lees (93) dregs

vault (94) wine cellar, punning on grave

pauser (109) restraining force of

auger-hole (120) the tiniest crevice

scruples (127) doubts

undivulg'd pretence (129) undisclosed plot of treason

the near in blood . . . bloody (142) close relations are more likely to be suspected of murder

warrant in that theft (143) this kind of stealing (away) is justified

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Act 2, Scene 2: The same Court of Macbeth's castle summary and analysis

Act II: Scene 2

 

Summary

Having drugged the guards of Duncan's chamber, Lady Macbeth now meets her husband in the lower courtyard as he emerges from the king's room itself. Macbeth's conscience is clearly disturbed by what he has done, and once more his wife criticizes his lack of firmness. The success of their plot is also in jeopardy because Macbeth has brought the daggers with him. Lady Macbeth returns to the scene of the murder in order to place the daggers and to smear the king's sleeping servants with blood, a deed that presents her with none of the horror that now affects Macbeth. As the scene closes, we hear, with the Macbeths, a loud and persistent knocking at the door.

Analysis

Lady Macbeth's opening words introduce a new level of emotional intensity. Fear of failure has been replaced with fear of discovery, and even though she describes herself as drunk with boldness and on fire with passion, she is just as easily alarmed as her husband is by the tiniest noises and movements. Her swift changes of thought and speech foreshadow the language of her final lapse into madness in the sleepwalking scene (Act V, Scene 1), when she relives these same moments.

Yet, despite all this, Lady Macbeth appears to be sufficiently hardened to the deed to be able to make several horribly ironic comments, including the observation that she would have committed the murder herself, had she not been put off the idea by the resemblance of the sleeping king to her own father. Note the similarity of this line — by which she seems to excuse something lacking in herself — with her earlier taunt to Macbeth that she would have dashed out the brains of her own child had she sworn to do so. The fact is that what Lady Macbeth would do her husband has actually done. The total reversal of roles that she anticipated cannot now occur because, despite his stricken conscience, Macbeth has done what she could never do.

The quick-fire dialogue and fragmented line structure in this part of the scene denote a sense of frightened urgency in both characters. Macbeth's concern centers on two major areas. First, he believes he has "murder'd sleep." Sleep, he argues, ought to bring physical calm in the same way that prayer soothes the spirit. But in his case, the ability both to pray and to sleep has been cancelled. Macbeth is haunted by the knowledge that he will never again rest easy in his own bed: "Glamis hath murdered sleep, and therefore Cawdor / Shall sleep no more, Macbeth shall sleep no more!" (41-42). Lady Macbeth, refusing to accept such "brainsickly" thoughts, reminds Macbeth of the familiar comparison that "the sleeping and the dead / Are but as pictures." Ironically, she is the one who will be kept from sleeping by the picture of death long after it has left Macbeth's mind.

The second area of Macbeth's concern is the bloodiness of the deed and specifically the fact that his own hands bear witness to the unnatural deed of murder. Again, for Lady Macbeth, blood is only like paint used to daub the picture of death and can be easily washed off. But Macbeth is aware of the deep stain beneath the surface. His capacity for recognizing the grand scale of his action, which foreshadows his later remark that he is "in blood stepped in so far," is missing in Lady Macbeth.

At this point, the knocking begins. Like the beating of the heart in Edgar Allan Poe's short story "The Tell-Tale Heart," the noise is partly the knocking of their consciences and partly an actual exterior knocking. Symbolically, the knocking is the knocking of justice, or of vengeance.

Glossary

bellman (3) man who summoned condemned prisoners

surfeited (5) drunk

their charge (6) that is, Duncan

second course (38) that is, at the banquet of life

gild (55) paint them with golden blood

incarnadine (61) make red

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Macbeth Act 2, Scene 1: Court of Macbeth's castle summary and analysis

Act II: Scene 1

 

Summary

As Macbeth makes his way toward the king's bedchamber, he encounters Banquo with his son Fleance. Banquo has been unable to sleep and explains to Macbeth that he has been dreaming of the weird sisters. After arranging to meet again in order to discuss the matter, Banquo asserts his allegiance to the king and bids good night to Macbeth. No sooner is Macbeth alone, than he has an extraordinary experience. Either in the heat of the moment or through some supernatural visitation, he sees a ghostly dagger indicating the way to the Duncan. Convinced that "there's no such thing," he climbs to the king's chamber.

Analysis

The opening dialogue sets the scene: It is past midnight, the moon has set, and the "candles" of heaven — the stars — cannot be seen. Symbolically, the airy lightness that greeted Duncan's arrival at the castle in Act I has completely vanished, to be replaced by brooding darkness.

In this opening scene of Act II, as in the later Porter scene, the audience feels momentarily suspended from the action but in no way removed from the intensity of emotion as the innocent Banquo and his son pass the time of night. The moment at which Banquo so very nearly draws his sword on a potential intruder (actually Macbeth) is a master-stroke of dramatic irony: Banquo has no idea of what the audience knows.

The dagger speech (32-65) is, deservedly, one of the most celebrated in Shakespeare. Like "If it were done" (Act I, Scene 7), this soliloquy is a fascinating piece of stage psychology. The structure of the lines precisely echoes the swings from lucidity to mental disturbance that characterize Macbeth throughout the play. There are three false alarms: "I see thee still . . . I see thee yet . . . I see thee still!" Between each of these alarms comes a moment of respite in which Macbeth appeals to the world of the physical senses: "Art thou not . . . sensible to feeling?" "Mine eyes are made the fools of the other senses," and "It is the bloody business which informs thus to mine eyes."

Nevertheless, as in the earlier scene with his wife, Macbeth eventually capitulates. The urge to become king is now strong in him. In his final lines, as he ascends to the king's chamber, he imagines himself as the personification of Murder itself, stealthily making its way towards its victim. The change of tone to one of high rhetoric and classical allusion (Hecate, Tarquin) may seem out of place, but not if we imagine Macbeth putting on a "mask" of language in preparation for the murder. The distinction between word and deed in the last line is an idea that occurs frequently in Shakespeare. What we say and what we do are frequently very different matters. But in the final couplet, Macbeth seems to transfer his own doubts concerning the afterlife to Duncan: Whether the king will go to heaven or hell is now an academic matter; ironically, for Macbeth himself, the outcome is likely to be more certain.

Glossary

husbandry in heaven (4) the gods are economical with their starlight

cleave to my consent (25) approve of my plan

augment (27) support

dudgeon (46) handle

gouts (46) drops

Hecate (52) goddess of witchcraft

Tarquin (46) murderous king of Rome

prate (58) prattle

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Macbeth Act 1 Scene 7 Macbeth's castle summary and analysis

Act I: Scene 7

 

Summary

Alone, Macbeth ponders the deed that he is about to perform. He is aware of the powerful reasons for murdering the king, but is nagged by self-doubt arising from his fear of retribution both in heaven and on earth and by his likely loss of reputation. However, any such fears are dismissed by his wife in the same practical tone that she used in Act I. Her taunting of her husband's weakness, coupled with the efficiency of her own plan, convince Macbeth that he should take on the "horrid deed."

Analysis

The imagery of Macbeth's soliloquy reveals the intentions he would like to achieve ("assassination," "success"), but its construction shows the workings of a mind still very much in confusion. Notice the insistent repetition of individual words — if, were, done, be, but, and here — each repeated two or three times within the first few lines. Within the fluid construction of this soliloquy, words and sounds constantly attract and suggest each other, giving the impression of a train of thought. All this begs the question of whether Macbeth, able to rationalize and express his thoughts, is thereby revealed as an intelligent, poetic soul. And if that's the case, does he appear more human, more or less capable of sinning, and, worrysome for the audience, more or less capable of winning their sympathy?

It is the thought of something after death that puzzles Macbeth. Throughout the speech, his words recall those of Shakespeare's earlier tragic hero, Hamlet. In paraphrase, Macbeth wonders whether the act of murder itself must, by necessity, carry consequences in "the life to come" or whether judgment will await him in this life. Macbeth is simultaneously aware of the duplicity and imbalance of the proposed murder (he is Duncan's relative, subject, and host, yet he is to be his killer) and of the equality and balance of earthly and heavenly law: "this even-handed Justice / Commends the ingredients of our poison'd chalice / To our own lips" (11-12).

Of further concern to Macbeth is the disparity between his own reputation and the world's perception of Duncan as a good and virtuous king. The final section of the speech contains an apocalyptic vision in which he imagines Duncan's virtue and pity proclaimed as if by angels and cherubim from a storm-filled sky. This doom-laden vision, whose imagery (for example, "trumpet-tongued") reflects that of the biblical Day of Judgment, gives way in turn to a nagging self-doubt. Whereas he pictures the angels and cherubim "horsed upon the sightless couriers of the air," Macbeth admits that he himself has "no spur / to prick the sides of my intent but only / Vaulting ambition which o'erleaps itself / And falls on the other [side]" (25-28).

Lady Macbeth must immediately detect Macbeth's self-doubt. When Macbeth admits to her that his golden reputation might lose its "gloss," she sets out to strengthen his resolve by mocking his perceived weakness. Her questions drive further the wedge between daring and doing, between courage and action, between desire and fulfillment. To these, she adds a distinction between masculinity and femininity: In contrast to her own self-proclaimed manliness, she pours scorn upon her husband's lack of courage. She tells him he is "green," "a coward," and that he resembles the proverbial "poor cat" who wanted the fish but would not get its paws wet. Finally, and most damningly, she tells him that her own lack of pity would extend to murdering her own child as it suckled at her breast. With this one terrifying example, she confirms that "the milk of human kindness" is absent in her.

The next paragraph commences with a shift in tone — no less pragmatic but even more ruthlessly efficient — as Lady Macbeth switches her attention to the details of the murder itself. Her plan to drug the guards with alcohol is couched in metaphorical language derived from the ancient science of alchemy. The words "receipt," "fume," and "limbeck" specifically refer to this process, whose purpose was to turn base metal (such as lead) into gold. It is heavily ironic that, in the Macbeths' experiment, that which is gold — the king himself — will become base and doubly ironic that Macbeth's golden reputation will be reduced to worthlessness.

Macbeth has been convinced. In words that uncannily recall his wife's, he now puts on the mantle of murderer: the monosyllabic "False face must hide what the false heart doth know" has a certainty to it that completely overturns his earlier vacillation.

Glossary

trammel up (3) obstruct, prevent

surcease (4) death

shoal (6) sandbank

faculties (17) kingly powers

taking-off (20) murder

sightless couriers (23) invisible winds

ornament of life (42) the crown

adage (44) proverb

fitness (53) appropriateness

sticking-place (61) its limit

wassail (65) entertainment

receipt . . . limbeck (68)container for an alchemist's solution; here, Macbeth's plan

mettle (74) courage

corporal agent (81) physical part of myself

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Macbeth Act 1 Scene 6 Before Macbeth's castle summary and analysis

Act I: Scene 6

 

Summary

King Duncan and his retinue arrive at Inverness. Various formal greetings are exchanged between the king and Lady Macbeth, who, like a chameleon, now takes on the more typical role of perfect hostess.

Analysis

Duncan's speech on his arrival at Inverness is heavy with dramatic irony: Not only is the "seat" (the surroundings) of the castle "pleasant," but even the air is sweeter than that to which the king is accustomed. The presence of the martlet (a summer bird) serves to heighten the irony. As far as the king is concerned, the castle, from the outside at least, appears to be a paradise. Contrast this picture of delight with the imagery of hell that forms the substance of the Porter scene (Act II, Scene III).

The king's address to Lady Macbeth and her subsequent reply are full of the heightened language of formal introduction: "God 'ild you," "We rest your hermits (your servants) ever." Of course, her elaborate greeting contrasts her language of the previous scene and emphasizes her falsity.

The stage directions that frame this scene are full of the pomp and ceremony of a royal visit. To a musical accompaniment, food and drink are transported from one side of the stage to the other. Although the audience does not see the revelry on stage, Shakespeare intends us to understand that the king is to be well entertained.

Glossary

temple-haunting martlet (4) bird that nests in church porches

loved mansionry (5) favorite building

jutty . . . vantage (6) eaves, convenient corner

pendent (7) hanging

procreant cradle (7) nest

haunt (8) regularly visit

love . . . love (11) As king, I must always acknowledge my subjects' love even though doing so is a burden to me. But I must tell you that in taking trouble for me, you win God's thanks.

All . . . house (14) Even if I were to double my efforts on your behalf, it would be nothing compared with the honour you pay by visiting our house.

cours'd (21) chased

purpose . . . purveyor (21) intended to arrive before him

holp (23) helped

in compt . . . audit (26) on your account, to be assessed by you

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