Choose two scenes from Shakespeare’s ‘Macbeth’ Essay

At the outset of this scene, we are able to ascertain due to the careful sculpturing of Shakespeare’s, that Lady Macbeth is a practical kind of women from what is emanated from her soliloquy, who is imbued with an aura of insecurity full of consternation for her husband’s dangerous ploy. She is ever weary of the â€Å"fatal bellman† who would signal the demise of her husband with the â€Å"stern’st goodnight† however here we can see the interwoven theme of death occurring with the allusion to the toll of the bell rung outside the cell of those condemned at Newgate Prison. This would also appeal to those in Jacobean times due to the current fixation with treason and the Gunpowder plot to eradicate the king, serving as a focusing device to grab the audience’s attention. As Lady Macbeth waits, the dramatic tension builds even once Macbeth enters the chamber, as he cries â€Å"who’s there?† At this point, she could be pacing the room, looking apprehensive also in the dark, which would further contribute to the effect when Macbeth enters trying to establish where she is. This would also serve in the general panic of the scene, as Lady Macbeth is held in suspense for the outcome of the murder, the audience focusing solely on her. Also in order to eliminate the need of special effects, this scene could be off stage until Lady Macbeth bursts in and meets Macbeth. The language used would add to the general confusion and tantalising suspense with Lady Macbeth and Macbeth trying to affirm what happened as succinctly as possible using words such as â€Å"when† and â€Å"how†, adding to the further dramatic tension caused from Macbeth’s return. Macbeth here is depicted as frightened, for case of arousing those who would sound the alarm, â€Å"hark† he cries. However as Macbeth tries to denigrate himself by saying â€Å"this is a sorry sight† reflecting on his hands we can see the bolstering of spirit by Lady Macbeth who dismisses it as a â€Å"foolish thought†. Here again as at the outset of the scene we can see Lady Macbeth’s practical character being manifested, which is also seen further on when she returns the daggers, the determination, which she exemplifies, is also seen in Act 1. Scene 5, where she pacifies Macbeth saying â€Å"leave all†¦ to me.† Macbeth by contrast is asphyxiated with the thought of sleep another theme invoked thought a characters actions, seen in this scene, as Macbeth’s feels due to his actions, he wont be able to sleep the â€Å"innocent sleep.† This theme is further emphasised by the repetition of â€Å"sleep no more†. Also religious issues are aroused disallowing him to say â€Å"Amen† which under the Divine Right Of Kings should be uttered freely. Due to his contravention of the Right, he is despised of the reverential features. These two features culminate to show the slow disarray of the psychological state in Macbeth in a gradual downward spiral in mental degradation as he tries to control his ways however is adamant to look on murder again â€Å"I dare not.† Lady Macbeth is then faced with returning the daggers, with residual feelings of vexation for Macbeth. She dismisses his excuse using a metaphor â€Å"are but as pictures† pertaining to the fact that his fears are figments of the imagination like someone in â€Å"childhood† really trying to humiliate Macbeth for who he is. Lady Macbeth uses words such as â€Å"gilt† and â€Å"grooms† which would infer a marital sense being eluded to in the breakdown of relationship and the overlaying of something new, however the words are used here in a negative sense. Despite Lady Macbeth’s plausible efforts to banish all evidence from their presence in taking the daggers back, she in fact relinquished herself with the killing of Duncan with the blood on her hands. We can see the effects later on in the play when she is sleep walking she cries â€Å"out damned spot† this could only point back to this scene, which is a turning point from which she never escapes, and Macbeth and Lady Macbeth almost amalgamate into one. Again we have in the latter part of this scene a knocking which not only is used as a dramatic device in a quiet scene but also as a â€Å"knell† to show from now on they must suffer the consequences for their actions. The stage would be dark and quiet with a loud muffled pounding on the door resonating throughout the stage, the audience being caught up in this climatic suspense, trying to emulate what the two were feeling. Not only do we have this dramatic device used but also the theme of blood further intimated to â€Å"wash this blood† would further magnify the overall tension. We can see further allusion to blood in Act 2. Scene 3, â€Å"badged with blood† which is a predominate theme running through this scene. As the knocking grows ever closer Lady Macbeth keeps her composure and is not shaken by the knocking she seeks to disembalm them from the murder she says â€Å"a little water† which would usually signify purity. This is an example of dramatic irony, in water being used to cleanse them from their part in this deed, despite the abhorrence of such sin in the sight of purity. She is a stark contrast in character portrayal to Macbeth who is fretting for fear of being found out along with the settling apprehension of what he’s done as he say’s of Duncan he would wake him â€Å"would thou could’st† portraying to the audience a change of mind within Macbeth who seeks to resurrect King Duncan however has to face the solemn fact he can’t. At the outset of this next scene I wish to look at we see Lady Macbeth and Macbeth for the first time depicted with their elevated social circle enjoying those with whom they associate with in a banquet to commemorate their regal status. Macbeth tries to paint this false faà ¯Ã‚ ¿Ã‚ ½ade in an attempt to stop any animosity from being portrayed but then jeopardises his ploy at being the â€Å"humble host† a subtle use of alliteration, by using the word â€Å"play.† This would infer a temporal state pertaining to a change as we can see in the latter part of the scene. A theme of appearance and reality is intimated here due to Macbeth’s appearance being a complete inverse to his inner thoughts, in seeking to veto Banquo’s life yet trying to proclaim himself in an unostentatious way. Which also could be perceived as dramatic irony. Macbeth at this early stage in the scene is fairly composed, however we can observe a gradual change as he meets with the murders, he then asks if Banquo has been â€Å"Dispatched.† Shakespeare’s ingenious use of the word could allude to two things, which is also linked with Act 1. Scene 5. In this instance it is used ostensibly to discern whether Banquo has been killed, however it is used earlier in the play in the sense of being efficacious in the ploy of Lady Macbeth, as regards to the demise of Banquo. This initial part of the scene could be staged with Macbeth consulting with the murders, behind an opaque screen which the audience could see, but not those at table, alluring to the secrecy of the situation contrasting with the revelry going on round the table. This would also draw the audience’s attention away from the table focusing them on Macbeth who is the pivotal one in this scene. Macbeth’s innate fears are seen in his speech saying: â€Å"I’m cabined, cribbed, confined bound in to saucy doubts and fears† Macbeth has no consolation, he is alone in his distress without the help of his wife on whom he so heavily relied, floundering for what to do next. The use of alliteration would make it even more emphatic, like a caged animal who has no hope, and it is here we are able to discern the pressure amounting infused with a weakness of mind, heralding the decline in mental degradation. It is then we have the entrance of Banquo’s ghost, a dramatic device building up tension even before Macbeth notices. In a modern day theatre to resemble a ghost would be a lot easier than in the Jacobean times, due to exquisite special effects which would captivate a modern audience, than those in afore times. Due to the lack of equipment to super impose, a ghost possibly couldn’t have been staged save for some one dressing up, however today’s sophisticated lighting could produce a realistic effect which would further add to the aura of tension emanating from this scene. Whilst Macbeth is in a quandary about where to sit, he is trying to banish this horrific sight from his mind he cannot abstain from saying; â€Å"Never shake they gory locks at me†, he simply cant tolerate the image any longer, whether this arose from the â€Å"heat oppressed† brain it is ambiguous, however Macbeth is firmly convicted of this terrible apparition which has come to taunt him. It is here Lady Macbeth steps in dismissing his accusations as â€Å"very paintings of your fear†; we can see again the practical side co-insiding with the portrayal in Act 2. Scene 2, alluring to the fact she is the dominant one in their relationship trying to bolster Macbeth amidst such breakdown Another theme of blood is made manifest in Macbeth’s speech here and later on when Banquo’s ghost reappears â€Å"blood hath been shed†, however he is bemused using metaphorical language there is a ghost saying â€Å"The brains were out†¦then man would die†¦an end.† Macbeth fails to grasp the concept of raising an apparition once a person has died. This however is an allusion to the further submergence in mental ruination as Macbeth elapses further into an irreparable state of mind. The ghost then makes a second appearance, more dramatic tension, filling the audience with a further sense of fear building up to a crescendo when Macbeth confronts the ghost. However we also see some dramatic irony emanating from his speech as he uses animal imagery, â€Å"armed rhinoceroses.† This is quite strange, as animals would symbolise a harmonic state of things, where as the thing Macbeth is describing is of a total contrast, used to emphasis the detrimental sight of Banquo’s ghost. The scene then draws to a close, alluring to the Divine Right Of Kings, along with religious issues invoked â€Å"blood will have blood.† This would also link back to the old Hebraic saying â€Å"Man who lives by the word will die by the sword† Macbeth has slighted the ways of the universe, the equilibrium has been altered, â€Å"Stones have been known to move† the hierachery of the heavens has been changed by false means in the demise of Duncan. Macbeth will have to reap what is sowed linking back to Act 2. Scene 2. Also mystics are pertained to in Macbeth’s speech â€Å"Understood relations by maggot-pies†, who had premonitions for the future beholding it in birds. Also reference to biblical saying â€Å"dust to dust† could be pertained to by reference of â€Å"maggots† referring to earthen things and ultimately death, which Macbeth will have to face. This would really captivate the attention of those in Jacobean times more effectively than those of the modern day, as they believed the supernatural, Shakespeare integrating it to focus the audience on Macbeth. The scene culminates in a theme of sleep linking back to Act 2 Scene 2, in Macbeth thinking this is the root of this â€Å"self abuse† however he say’s â€Å"young in deed† would reflect his mentality that he has further obstacles to clear to stop them hampering his seemingly aspiring progress, despite such denigration.