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AQA style exam question: Macbeth and Lady Macbeth

This helpful resource is designed for students who are studying the play Macbeth by William Shakespeare for AQA GCSE English Literature Paper 1, Section A. To support students’ understanding of character, plot and theme, the resource includes an exam-style question and related extract from Act 3, Scene 4.

Students are encouraged to complete a close analysis of the extract, zooming in on the characters of Macbeth and Lady Macbeth, before zooming out to consider relevant scenes, extracts and characters from the rest of the play.

The question asks students to explore the relationship between Lady Macbeth and Macbeth in the extract and then broaden out to think about how their relationship develops.

Students could also reflect on key themes that are relative to the extract, such as valour, vaulting ambition and the crime of regicide.

They may also want to make links to the witches’ prophecies at the beginning of the play, and how the audience views the zenith of the milk of human kindness transform into the nadir of direst cruelty as Macbeth carries out the terrible murder of Duncan, King of Scotland.

Browse additional resources on the play Macbeth and other Shakespeare plays in the GCSE Shakespeare section.

A sample extract from the resource:

How does Shakespeare present the relationship between Lady Macbeth and Macbeth in this extract and the rest of the play?

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Notes || Exam Prep || Character Profiles || Themes

This topic is included in  Paper 1 . You can find notes and guides for it below.

• Brief Overview
• Glossary of Key Terms
• Key Terms Flashcards
• Guide to Paper 1
• How to plan and write a top mark essay

Character Profiles

• Lady Macbeth (Brief)
• Macbeth (Brief)
• The Witches
• Abuse of Power and Kingship
• Appearance vs Reality
• Guilt, Innocence and Paranoia

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‘Macbeth’ Grade 9 Example Response

Grade 9 – full mark – ‘Macbeth’ response

Starting with this extract (from act 1 scene 7), how does Shakespeare present the relationship between Macbeth and Lady Macbeth?

In Shakespeare’s eponymous tragedy ‘Macbeth’, Macbeth and Lady Macbeth’s relationship is a complex portrait of love, illustrating layers of utter devotion alongside overwhelming resentment. Though the couple begins the play unnaturally strong within their marriage, this seems to act as an early warning of their imminent and inevitable fall from grace, ending the play in an almost entirely different relationship than the one they began the play with.

In the exposition of the play, Macbeth and Lady Macbeth initially appear immensely strong within their marriage, with Macbeth describing his wife as ‘my dearest partner of greatness’ in act 1 scene 5. The emotive superlative adjective ‘dearest’ is a term of endearment, and acts as a clear depiction of how valued Lady Macbeth is by her husband. Secondly, the noun ‘partner’ creates a sense of sincere equality which, as equality within marriage would have been unusual in the Jacobean era, illustrates to a contemporary audience the positive aspects of their relationship. Furthermore the lexical choice ‘greatness’ may connote ambition, and as they are ‘partner(s)’, Shakespeare suggests that Macbeth and Lady Macbeth are equal in their desire for power and control, further confirming their compatibility but potentially hinting that said compatibility will serve as the couple’s hamartia.

However, the strength of Macbeth and Lady Macbeth’s relationship falls into a rapid downward spiral in the subsequent scenes, as a struggle for power within the marriage ensues. This is evidenced when Macbeth, in act 1 scene 7, uses the declarative statement ‘we will proceed no further in this business’. Here, Macbeth seems to exude masculinity, embracing his gender role and dictating both his and his wife’s decisions. The negation ‘no’ clearly indicates his alleged definitive attitude. However, Lady Macbeth refuses to accept her husband’s rule, stating ‘when you durst do it, then you were a man’. She attempts to emasculate him to see their plan through. The verb ‘durst’ illustrates the risk taking behaviour that Lady Macbeth is encouraging; implying an element of toxicity within their relationship, and her harsh speech makes the cracks in their relationship further visible to the audience. It is also probable that a contemporary audience would be made severely uncomfortable in the presence of Lady Macbeth’s unapologetic display of power, and it is possible that Shakespeare attempts to paint Lady Macbeth as the villain of the play, playing upon the audience’s pre-determined fears of feminine power. Though Lady Macbeth appears to be acting entirely out of self-interest, another reader may argue that she influences her husband so heavily to commit the heinous act of regicide, as she believes that he crown may as a substitute for the child or children that Shakespeare suggests she and Macbeth have lost previously, and in turn better Macbeth’s life and bring him to the same happiness that came with the child, except in another form.

As the play progresses, Shakespeare creates more and more distance between the characters, portraying the breakdown of their relationship as gradual within the play but rapid in the overall sense of time on stage. For example, Lady Macbeth requests a servant ‘say to the king’ Lady Macbeth ‘would attend his leisure/ for a few words’. Here she is reduced to the status of someone far lesser than the king, having to request to speak to her own husband. It could be interpreted that, now as king, Macbeth holds himself above all else, even his wife, perhaps due to the belief of the divine right of kings. The use of the title rather than his name plainly indicated the lack of closeness Lady Macbeth now feels with Macbeth and intensely emotionally separates them. This same idea is referenced as Shakespeare develops the characters to almost juxtapose each other in their experiences after the murder of Duncan. For example, Macbeth seems to be trapped in a permanent day, after ‘Macbeth does murder sleep’ and his guilt and paranoia render him unable to rest. In contrast, Lady Macbeth takes on an oppositional path, suffering sleepwalking and unable to wake from her nightmare; repeating the phrase ‘to bed. To bed’ as if trapped in a never-ending night. This illustrates to the audience the extreme transformation Macbeth and Lady Macbeth’s relationship undergoes, and how differently they end up experiencing the aftermath of regicide.

In conclusion, Macbeth and Lady Macbeth begin the play almost too comfortable within their marriage, which seems to invite the presence of chaos and tragedy into their relationship. Their moral compositions are opposing one another, which leads to the distancing and total breakdown of their once successful marriage and thus serves as a warning to the audience about the effects of murder, and what the deadly sin of greed can do to a person and a marriage.

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gcseenglishwithmisshuttlestone

Secondary English teacher in Herts. View all posts by gcseenglishwithmisshuttlestone

9 thoughts on “‘Macbeth’ Grade 9 Example Response”

wheres the context

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It is also probable that a contemporary audience would be made severely uncomfortable in the presence of Lady Macbeth’s unapologetic display of power, and it is possible that Shakespeare attempts to paint Lady Macbeth as the villain of the play, playing upon the audience’s pre-determined fears of feminine power.

Also ref to ‘divine right of kings’

Thank you! This is a brilliant response. Just what I needed. Could you also please include the extract in the question.

We will proceed no further in this business. He hath honored me of late, and I have bought Golden opinions from all sorts of people, Which would be worn now in their newest gloss, Not cast aside so soon.

—> until end of scene

She did (Act 1 Scene 7)

Another great resource for grade 9 Macbeth analysis https://youtu.be/bGzLDRX71bs

In order to get a grade 9 for a piece like this would you need to include a wide range of vocabulary or could you write the same thing ‘dumbed down’ and get a 9.

If the ideas were as strong then yes, but your writing must AT LEAST be ‘clear’ for a grade 6 or above.

This is really great, I’m in Year 10 doing my Mock on Thursday, a great point that i have found (because I also take history) Is the depiction of women throughout the play, during the Elizabethan era, (before the Jacobean era) many people had a changed view of women as Queen Elizabeth was such a powerful woman, glimpses of this have been shown in Jacobean plays, in this case Macbeth, Lady Macbeth is depicted as powerful although she had to be killed of to please King James (as he was a misogynist) women are also depicted as evil in the play, such as the three witches, I also found that the Witches are in three which could be a mockery to the Holy Trinity.

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Mr Salles Teaches English

How is Guilt Presented in Macbeth?

Hi Mr Salles, I’m a new subscriber but using your articles and YouTube videos I recently scored 26-27/30 on a Macbeth essay, the text I struggle with the most. So I’d just thought I share it for any feedback.

The question was on guilt, the extract was Act 5 Scene 1 - Lady Macbeth sleep walking.

The Essay on How Guilt is Portrayed (27/30)

Throughout the tragedy “Macbeth”, William Shakespeare constantly references guilt, its nature and focus constantly shifting. It enacts the role of a moral compass allowing the audience to establish the difference between good and evil - which the lack of guilt comes to represent. Through his intertwining of the motifs of guilt, Shakespeare crafts a complex character arc for Macbeth as well as Lady Macbeth who partake in regicide- a grave sin.

The extract clearly portrays guilt through Lady Macbeth, who uses the motif of blood to portray her guilt. Through her exclamation of “ all the perfume of Arabia will not sweeten this little hand ” she portrays the weight the metaphorical blood has on her conscience, which entices the idea of guilt. The use of the hyperbole establishes her changed attitudes, as she had previously manipulated Macbeth though phrases such as “ a little water clears us of this deed ”, a euphemism for the regicide that had not affected her then but seems to now. The description of “ perfumes of Arabia ” can also connote wanting to be cleansed of sins, such as through religious sacraments such as anointing, which is done with oil. The perfume she mentions may not presents just the fragrance which will give her temporary salvation from the memory but rather her wanting redemption from God through undergoing a holy sacrament such as the anointing, which will rid her of the guilt she harbours due to the regicide plaguing her mind.

The audience at the time would have been aware of the gravity that disruptions to the Great Chain of Being had, which was a direct opposition of God, meaning Shakespeare’s religious allusion was intentional to show Lady Macbeth’s growth and how guilt has impacted her morality. While previously she called on “ spirits who tend on mortal thoughts, ” she now seeks God, portraying her guilt as a catalyst for her change. The fact she says the statement while sleep walking could also connote that it’s not intentional, while she acted in a way that a likened her to the witches, she is human and therefore a product of God’s creation, so will ultimately seek him out.

However, through her unrest, it’s clear that she has strayed too far from God due to her aid in Duncan’s regicide. Perhaps Shakespeare attempts to reinforce his allegiance to the Great Chain of Being and the divine right of kings, portraying it as God’s will. Following the gun powder plot, Shakespeare’s loyalty was questioned, allowing the assumption that his play was an ode to King James, not only as a form of flattery but also to reinstate to others that he criticised those who strayed from social norms, portraying their suffering through guilt and moral decline.

Earlier in the play, guilt is also portrayed through Macbeth’s initial reaction to committing regicide, when he begins to hallucinate, stating “ is that a dagger I see before me? ” The use of the rhetorical question makes it seem as those his thoughts are exposed, showing vulnerability. Possibly Shakespeare comments on Macbeth feeling lost, due to having committed a grave sin and in turn straying from God, who acted as a moral compass for him previously. The use of this highlights to the audience the impact that God has on morality. And how interacting with the supernatural has caused Macbeth to lose that, in turn following through with this malicious plan, an insidious plot of the Witches who plant the seeds for Macbeth’s ambition.

However, religious allusions are constantly threading into the play, such as when Macbeth states that Duncan is “ silver laced golden blood ”. At face value the use of “silver” and “gold”, which are precious metals, can connote his value to the nation while also portraying him as pure, due to the unreactive nature of the metals. The comparison of them together can highlight the difference in value that Macbeth and Duncan had as rulers, with Duncan portrayed by the more expensive metal “gold”.

Alternatively it can be interpreted as alluding to the betrayal of Jesus, who Judas betrayed for “silver” coins. England being a religious country would have realised the association, leading to Macbeth indirectly admitting the betrayal of not only Duncan, but also God. He betrayed the king who considered him his “kinsman” for power. His realisation portrays his indirect guilt, which seems to disappear as he turns more power hungry, following his id rather than his superego. Once he strays from God, he becomes primal and instinctive, showcasing to the audience that he exhibits animal like behaviour, indicating that he has rejected God, becoming like the animals who do not posses a conscience and act on instinct, portraying his moral decline through the fact he lacks guilt

Furthermore, Macbeth’s initial lack of guilt when killing the “traitor” Macdonwald, portrays that morality, and in turn guilt, is dictated by societal norms. When defending his country, Macbeth sees the killing of Macdonwald as necessary and as an honour. Despite the brutal violence of “ unseamed him from the nave to his chop s”, he’s still honoured as “ Brave Macbeth ”.

This is similar to how Macduff is honoured when killing Macbeth- the lack of guilt from both men representing that guilt is fueled by the superego. This highlights how Scottish warrior culture had a skewed sense of morality, making susceptibility to violence and manipulation, such as by the Witches and Lady Macbeth, more likely due to a lack of stability in beliefs.

The cyclic structure employed by Shakespeare also dictates that this is continuous, highlighting that the lack of guilt these men feel is dictated by society and leads to corruption due to their increased hubris, which in many cases is their hamartia. Perhaps this is Shakespeare’s comment on society, illustrating that the values they hold are transient and do not hold any value. Through this it can be interpreted that Shakespeare implores the audience to use their conscience as a moral guide rather than other influence, which through the use of Scottish warrior culture shows that guilt is subjective.

Perhaps Shakespeare also aims to educate society on the fact that violence breeds more violence. Such as shown through Macbeth committing regicide which lead to him experiencing the same thing, a warning to King James, that his violence towards the traitors of the gunpowder plot will result in increased violence towards him.

Ultimately, guilt is presented as subjective, adapting to suit the morality of the characters as they progress through the play. The tragedy comes to represent the effects of the supernatural, portraying how they impact the guilt that’s felt by Macbeth and Lady Macbeth, who throughout the play take many forms. He shows that power is transient and that righteousness ultimately prevails. Various religious references allow the audience to learn a lesson from the mistakes of Macbeth and Lady Macbeth.

I’ve had to make a few grammatical changes to the essay which is still, in places, confusing. However, I can see how an examiner could give this 27 marks, like Amelia’s teacher did.

I don’t have time to mark this, but Tilf.io will do it instantly.

The final mark is still under development. I’m much more interested in the feedback on how to improve.

Mr Salles Teaches English is a reader-supported publication. To receive new posts which help you get top grades, consider becoming a free or paid subscriber.

This is a strong opening paragraph that establishes the theme of guilt in 'Macbeth' and its role as a moral compass. You've effectively introduced the concept of regicide and its significance within the play. At the top of the level, consider exploring the contrast between Macbeth and Lady Macbeth's experiences of guilt in more depth to enhance your analysis.

The extract clearly portrays guilt through Lady Macbeth, who uses the motif of blood to portray her guilt. Through her exclamation of “all the perfume of Arabia will not sweeten this little hand” she portrays the weight the metaphorical blood has on her conscience, which entices the idea of guilt. The use of the hyperbole establishes her changed attitudes, as she had previously manipulated Macbeth though phrases such as “a little water clears us of this deed”, a euphemism for the regicide that had not affected her then but seems to now. The description of “perfumes of Arabia” can also connote wanting to be cleansed of sins, such as through religious sacraments such as anointing, which is done with oil. The perfume she mentions may not presents just the fragrance which will give her temporary salvation from the memory but rather her wanting redemption from God through undergoing a holy sacrament such as the anointing, which will rid her of the guilt she harbours due to the regicide plaguing her mind.

Your analysis of Lady Macbeth's guilt using the motif of blood is insightful, and you've made a good connection to religious symbolism. To improve, try to link back to the question by discussing how Shakespeare explores guilt through these motifs, rather than just describing them.

The audience at the time would have been aware of the gravity that disruptions to the Great Chain of Being had, which was a direct opposition of God, meaning Shakespeare’s religious allusion was intentional to show Lady Macbeth’s growth and how guilt has impacted her morality. While previously she called on “spirits who tend on mortal thoughts,” she now seeks God, portraying her guilt as a catalyst for her change. The fact she says the statement while sleep walking could also connote that it’s not intentional, while she acted in a way that a likened her to the witches, she is human and therefore a product of God’s creation, so will ultimately seek him out.

You've provided a thoughtful consideration of the historical context and its impact on the audience's understanding of guilt. However, aim to integrate this analysis more seamlessly with the exploration of guilt in the play to strengthen the connection to the question. (My note - Tilf.io doesn’t understand the last sentence of this paragraph - neither do I),

This paragraph offers a clear understanding of the thematic implications of guilt and its relation to the divine right of kings. To reach a higher level, consider discussing how Shakespeare's portrayal of guilt serves to explore broader themes within the play, such as ambition and power.

Earlier in the play, guilt is also portrayed through Macbeth’s initial reaction to committing regicide, when he begins to hallucinate, stating “is that a dagger I see before me?” The use of the rhetorical question makes it seem as those his thoughts are exposed, showing vulnerability. Possibly Shakespeare comments on Macbeth feeling lost, due to having committed a grave sin and in turn straying from God, who acted as a moral compass for him previously. The use of this highlights to the audience the impact that God has on morality. And how interacting with the supernatural has caused Macbeth to lose that, in turn following through with this malicious plan, an insidious plot of the Witches who plant the seeds for Macbeth’s ambition.

Your examination of Macbeth's hallucination and its connection to guilt is well done. Try to delve deeper into how this moment reflects the play's overall exploration of guilt and its consequences for Macbeth's character development.

However, religious allusions are constantly threading into the play, such as when Macbeth states that Duncan is “silver laced golden blood”. At face value the use of “silver” and “gold”, which are precious metals, can connote his value to the nation while also portraying him as pure, due to the unreactive nature of the metals. The comparison of them together can highlight the difference in value that Macbeth and Duncan had as rulers, with Duncan portrayed by the more expensive metal “gold”.

The religious allusions in your analysis are effective, but the connection to the theme of guilt could be made clearer. Focus on how these allusions contribute to Shakespeare's exploration of guilt and its impact on Macbeth's psyche.

You've identified Macbeth's changing perception of guilt effectively. Enhance your response by discussing how this evolution in his character reflects the play's broader themes and Shakespeare's exploration of guilt.

Furthermore, Macbeth’s initial lack of guilt when killing the “traitor” Macdonwald, portrays that morality, and in turn guilt, is dictated by societal norms. When defending his country, Macbeth sees the killing of Macdonwald as necessary and as an honour. Despite the brutal violence of “unseamed him from the nave to his chops”, he’s still honoured as “Brave Macbeth”.

This paragraph shows an understanding of how societal norms influence perceptions of guilt. To improve, consider how Shakespeare uses these norms to explore the theme of guilt in a more nuanced way. (My note - if Tilf gives me a bit of advice I don’t understand or is vague, I simply ignore it - this is one such).

Your discussion of the cyclic structure and its relation to guilt is a good point. Further develop this idea by examining how Shakespeare uses this structure to comment on the nature of guilt and its societal implications.

The connection between violence and guilt is an interesting point. Expand on this by discussing how Shakespeare uses the characters' experiences to explore the cyclical nature of violence and guilt.

In your conclusion, you've summarized the subjective nature of guilt in the play. To enhance your conclusion, reflect on how Shakespeare's exploration of guilt contributes to the play's tragic impact and the lessons it imparts to the audience.

Mark: 21 - 24 (this is a beta feature and mark may not be very accurate)

My Note: If 27 is the correct mark from a senior examiner, 24 would still be allowed by another examiner.

Overall feedback: Your essay demonstrates a thoughtful and developed consideration of the theme of guilt in 'Macbeth'. You have used a range of references effectively and shown clear understanding of the text and its context. To further improve, ensure that your analysis consistently links back to the question, exploring how Shakespeare uses guilt to develop characters and themes throughout the play. Additionally, consider the implications of guilt on the play's structure and the audience's perception.

What went well: You have effectively used textual references to support your interpretations and have shown a good understanding of the historical and religious context of the play. Your analysis of the characters' experiences of guilt is detailed and well-explained.

Even better if: To achieve a higher level, ensure that your analysis is consistently focused on the question, exploring the theme of guilt in relation to the play's broader themes and character development. Additionally, consider the structural elements of the play and how they reinforce the exploration of guilt.

My Thoughts

I’ve divided some of Amelia’s longer paragraphs to make more paragraphs.

This means Tilf.io can give more specific feedback. I don’t disagree with any of the feedback it gives. The final Even Better If is especially helpful.

However, it does mean that you have to pick and choose which feedback is most useful to you. Looking at the final EBI is a great way to do this: which small changes will lead to this big change?

If you don’t want so much feedback, just paste in your work using fewer paragraph breaks.

Mr Salles Teaches English is a reader-supported publication. To receive new posts which help you tet top grades, consider becoming a free or paid subscriber.

Ready for more?

If you get a question about guilt in the exam, there are two ways you can approach it:

A) you can look at how macbeth and his wife feel guilty about what they've done - of course they do: they killed a good king and, when it comes to it, they don't have a clue what they're doing. they weren't made to be rulers. they're rubbish at it. so what happened was that they killed a good king and were rubbish at ruling the state., b) who was guilty for killing duncan because if macbeth was begin controlled by a magic spell then was it fair to say that he takes responsibility for the crime, in short: any: question about guilt can approach either of these ideas and still do well., i've written more about lady macbeth here as i find her a more interesting character when looking at guilt, but there's plenty for both of them....

Macbeth's guilt

During the opening of the play, macbeth makes it clear that he doesn't want to kill duncan. he calls the idea a "horrid image" and says that it will "shake his single state of man" so violently that he won't be able to do it. he argues that he should be "shutting the door" against anyone who wants to kill duncan, and that duncan's death will be so awful that even the angels will rage "trumpet tongued" against his death. so macbeth seems to know that killing duncan won't get what he wants, but he does it anyway. as a result, quite predictably, he feels really guilty afterwards ., here are some key quotes looking at macbeth's regret for what he did to duncan:, i had most need of blessing, and 'amen' stuck in my throat - just after killing duncan, macbeth must have said a prayer but he cannot say amen which suggests that god cannot bless him., methought i heard a voice cry 'sleep no more macbeth does murder sleep', the innocent sleep . - the fact that macbeth stops being able to sleep is commonly cites as being a result of him feeling guilty. however, although there are repeated connections between sleep and innocence the line "sleep no more macbeth does murder sleep" is written in speech marks, and macbeth clearly says that he "heard a voice cry" it, and it's what the witches did to the sailor during the opening, so it would seem to make much more sense that macbeth can't sleep as a result of the witches' magic spell than any sense of guilt., i am afraid to think what i have done; - macbeth doesn't fear the norwegian army, but he is afraid to face what he's done., will all great neptune's ocean wash this blood / clean from my hand - the image of having bloo d on your hands runs through macbeth, and here he's arguing that even all the water in the sea won't wash his hands clean of their guilt., we sleep / in the affliction of these terrible dreams / that shake us nightly: - regardless of who caused his inability to sleep, macbeth cannot sleep throughout most of the play. here, he talks about his sleep being haunted by terrible dreams that shake him awake again. this is a clear reference to how he cannot escape his guilt for what he's done., better be with the dead .. . than on the torture of the mind to lie / in restless ecstasy. - in this quote he can't sleep, but lies with his mind being tortured. in fact, it is so bad that he would rather be dead, o, full of scorpions is my mind, dear wife - t his is the classic line to show macbeth's unstable mental state. sc orpions attack from both ends, they're desert dwellers - like the serpent from the bible - and they're inside his brain; the centre of his sense of self., however, despite this macbeth quickly finds himself in a position where he can't go back. he says that he is "in blood stepp'd so far that should i wade no more, returning were as tedious as go o'er." which is essentially a way of saying that he's already done so much wrong that it would be as bad to go back as to continue. and so, although he feels guilty, he doesn't turn back and eventually kills banquo as well as macduff's wife and child, and seems pretty non-plu s sed about his wife's death when that gets announced. as a result of all this, it's tough to feel that sorry for him., below, i've gathered a collection of quotes from the play that reflect the mess that macbeth is in by the end. he feels bad about killing more people, but can't seem to stop himself:, i am in blood / stepp'd in so far that, should i wade no more, / returning were as tedious as go o'er: - this is a great line when looking at macbeth's mental state. here, he claims that he's so knee deep in blood that it's as "tedious" to continue killing people as it would be to try to return to his old state of decency. "tedious" is a pretty crazy word to use to describe what he's talking about, but the image is clear: he's over committed now, so he may as well see the whole thing through..., i have almost forgot the taste of fears; - remember when macbeth was afraid to think on what he'd done well by the end that is not the case... he's committed so many terrible acts that he's forgot what it feels like to be afraid of anything his life is a big old mess and that's pretty much how he ends up..., lady macbeth and guilt:, lady macbeth's guilt, when it comes to guilt, lady macbeth comes up most often. she starts the play being adamant that she will feel no regret - she's the classic image of the psychopathic killer. she remains like this for acts 1, 2 and 3 (though there are four lines in act 3 where she's a bit sorry.) she doesn't appear in act 4 at all, then, suddenly in act 5 she's so full of regret that she commits suicide., so, in a nutshell, her character arc goes:, act 1: no remorse act 2: no remorse act 3: no remorse act 4: no appearance act 5: suicidal regret, on the back of this, it's not unreasonable to argue that her character arc is a little lacking. when did she change her mind did something happen to change it what motivated her to rethink her actions why did she just suddenly realise what she'd done, and go through one of the biggest u-turns in literary history, entirely off-stage shakespeare never really explains, and it's absolutely reasonable to argue that this constitutes a considerable missing element in the play., quotes about lady macbeth not feeling any guilt :, stop up the access and passage to remorse - in lady macbeth's m agic spell from act 1 scene 5 she asks the spirits to stop her from feeling any "remorse" - which means regret or guilt. so here, she is using magic to stop guilty feels from being able to access her., the bit when she said she'd kill her own baby - if ever there was a sign that someone lacked the capacity to feel regret or remorse it's the fact that they say they'd kill their own baby to fulfil a promise. lady macbeth really is psychotically ruthless., these deeds must not be thought / after these ways; so, it will make us mad - one thing with this play is that the characters quite often predict what will eventually happen to them. here, lady macbeth recognises that if they spend too long thinking about what they've done - if they dwell on their feelings of guilt - that it will make them mad. which is exactly what happens to her, my hands are of your colour; but i shame / to wear a heart so white. - h e re, lady m a cbeth claims that her hands are as bloody as macbeth's but she'd be ashamed to pretend that she was pure. she accepts what she's done and won't pretend to feel guilty when she doesn't. she won't pretend to have a pure white heart when she knows her heart is bad., things without all remedy / should be without regard: what's done is done. - here , she's basically saying that if you can't do anything to fix something, you shouldn't think about it. she's arguing that because they can't change what they've done they shouldn't worry about it anymore. there is no time or space in lady macbeth's world for feelings of guilt., note : there are loads more of these, but they're a pretty good selection, four lines in act 3:, nought's had, all's spent, where our desire is got without content: 'tis safer to be that which we destroy than by destruction dwell in doubtful joy., these four lines from act 3 are really important as they're the only time prior to her sleepwalking scene that she expresses anything close to any regret for what they've done. really, to take her character from not feeling any guilt to feeling so much that she's suicidal takes a change in her character which we don't ever see., but really, if you look closer at these lines she's not actually feeling regret for what they've done, she's just angry that they've got what she wanted but still aren't happy. she's also troubled by the fact that they're not safe in their position, which isn't really a feeling of regret at all but just a concern for their position., so really, she doesn't actually express any regret until she suddenly becomes suicidal., quotes about lady macbeth feeling regret:, out, damned spot out, i say - here, lady macbeth is sleepwalking a nd trying to wash the blood from her hands. the most common argument here is that she cannot escape what she's done - she has blood on her hands and she cannot escape that fact. she discovers, in fact, that you can boss other people around, but she cannot manage her own conscience. this is what eventually brings her down., what, will these hands ne'er be clean ... here's the smell of the blood still: all the / perfumes of arabia will not sweeten this little hand. - these t wo lines come from the same scene where she's fretting about the blood on her hands., it is very telling though that lady macbeth's expressions of guilt come while she's sleepwalking. sleeping - and dreaming - are often considered to be interesting states as they allow us to get in touch with our subconscious. here, it could be that shakespeare is saying that although lady macbeth may seem like she feels no guilt, she is actually just repressing it. it's possible that shakespeare is really just saying that even someone as evil as lady macbeth can't escape her subconscious feelings of guilt., why did shakespeare leave her lacking so much detail, this is a completely reasonable question and if you're going to mention this idea in an essay you should really look at this. without being able to ask shakespeare himself, i've put together a few ideas that seem reasonable:, a) if we'd spent time with her, going through the slowly dawning process of remorse, there was a danger that we'd develop some sympathy for her position. shakespeare didn't want this. because the whole point of the play was to put people off doing what she did, any element of sympathy for her would have been frowned upon by king james. as a result, shakespeare cut out her descent into madness, and made sure we feel no sympathy for her at all., b) she was a woman and, as such, her character didn't need to be as developed as the male characters on stage. the play itself is really a study in macbeth's motivations anyway, and although his wife steals the scenes she's in she's only ever a secondary character. you could argue that there was just no need to delve into her reasons that deeply., c) she never actually felt any regret consciously... this is a tough one to argue but the fact is that the only time we see her feeling regret is when she's sleepwalking; so she really only dreams the regret that we see. here, shakespeare could be highlighting the way that you can't escape your actions, even if it only in your sleep that they come back to haunt you. this argument is complicated a little when you consider that she killed herself, but...., did she definitely kill herself, the fact is that we think lady macbeth killed herself because malcolm says that macbeth's "fiend-like queen, who, as 'tis thought, by self and violent hands took off her life." but this is the only reference to her having killed herself., during the action of the play, we hear some women screaming off stage and then a character called seyton (whose name sounds suspiciously like satan) goes to check on her and comes back saying she's dead. now, i'm not saying that satan killed her and then malcolm just cast it aside on the grounds that she was dead and he didn't need to know anymore, but it actually makes a lot more sense of her character arc if she was killed by seyton and his minions rather than that she killed herself., whichever way you choose to look at it, the fact remains that shakespeare doesn't spend long enough on her regret for me to find her character arc very believable, and although you should avoid directly criticising shakespeare you're well within your rights to observe this., who was guilty, essentially, if you're going to argue that macbeth wasn't in control of himself when he killed duncan you'll need to refer to the sections on ambition and the supernatural ., but, if you do this, it's important to bear in mind that macbeth did kill duncan., so while you can argue that he was being controlled by a magic spell or being manipulated by his wife, you can't avoid the fact that he was holding the knife that ended duncan's life. and that's a fact....