Macbeth
Gazing afar the galaxy of poets, none shines as brightly as William Shakespeare. His
ingenious depiction of characters, uncanny medley of vocabulary, and use of rhetorical
devices was unprecedented. Shakespeare, in the play Macbeth, examines the
psychological aspect of crime. He puts forth an interesting notion – that one could be
easily shocked by crimes which appear abruptly in their full magnitude, but alleviated by
the stratagem of self-deceit, one could be negligent of the gradual growth of one’s own
wickedness as a consequence, which ultimately triggers more crimes. As Macbeth kills
Duncan, Banquo, and Macduff’s family, he undergoes a subtle change in character, and
ultimately becomes the tyrannical ruler portrayed in the end.
Following the atrocious act of murdering Duncan, Macbeth, though engulfed by guilt,
immediately contemplates yet another crime. A major distinction can be seen between the
first and second great crime pertaining Macbeth’s judgment. Prior to the murder of
Duncan, a virtuous Macbeth shows reluctance towards temptation and sees the witches’
prophesy as merely a daunting yet inevitable burden. It is not through Lady Macbeth’s
persistent instigation when he finally takes up the dagger. Afterwards, the last vestige of a
righteous Macbeth has already begun to fade away, and in its place, an avaricious and
selfish criminal. Notably, he says to the murderers, “So he is mine; and in such bloody
distance that every minute of his being thrusts against my near’st of life” (3.1.115-117),
meaning that every minute of Banquo’s existence eats away at his heart. His revulsion
towards Banquo is emphasized by the hyperbole which demonstrates that he would
secure his crown at the cost of betrayal. Moreover, Macbeth quotes, “Come, seeling night,
scarf up the tender eye of pitiful day and with thy bloody and invisible hand cancel and
tear to pieces that great bond which keeps me pale.
ingenious depiction of characters, uncanny medley of vocabulary, and use of rhetorical
devices was unprecedented. Shakespeare, in the play Macbeth, examines the
psychological aspect of crime. He puts forth an interesting notion – that one could be
easily shocked by crimes which appear abruptly in their full magnitude, but alleviated by
the stratagem of self-deceit, one could be negligent of the gradual growth of one’s own
wickedness as a consequence, which ultimately triggers more crimes. As Macbeth kills
Duncan, Banquo, and Macduff’s family, he undergoes a subtle change in character, and
ultimately becomes the tyrannical ruler portrayed in the end.
Following the atrocious act of murdering Duncan, Macbeth, though engulfed by guilt,
immediately contemplates yet another crime. A major distinction can be seen between the
first and second great crime pertaining Macbeth’s judgment. Prior to the murder of
Duncan, a virtuous Macbeth shows reluctance towards temptation and sees the witches’
prophesy as merely a daunting yet inevitable burden. It is not through Lady Macbeth’s
persistent instigation when he finally takes up the dagger. Afterwards, the last vestige of a
righteous Macbeth has already begun to fade away, and in its place, an avaricious and
selfish criminal. Notably, he says to the murderers, “So he is mine; and in such bloody
distance that every minute of his being thrusts against my near’st of life” (3.1.115-117),
meaning that every minute of Banquo’s existence eats away at his heart. His revulsion
towards Banquo is emphasized by the hyperbole which demonstrates that he would
secure his crown at the cost of betrayal. Moreover, Macbeth quotes, “Come, seeling night,
scarf up the tender eye of pitiful day and with thy bloody and invisible hand cancel and
tear to pieces that great bond which keeps me pale.