dramatic irony in macbeth essay

Dramatic Irony in Macbeth Essay

• Use of dramatic irony

The theme in Act V, Scene V

Political legitimacy, gender, power, and masculinity, personal response, works cited, use of dramatic irony in macbeth.

Dramatic irony occurs when the audience has more information than the characters. Shakespeare uses dramatic irony to amuse the audience and to show the level of deception developed by the main character.

In Act, I, Scene III, the first instance of dramatic irony occurs when the three witches appear, and they greet Macbeth and Banquo. The witches address Macbeth as Thane of Cawdor, which Macbeth takes to be a prophecy (Shakespeare 7). However, the audience knows that King Duncan has given orders to Ross to have Cawdor placed under Macbeth’s control, as a reward for winning the battle.

Another incidence of dramatic irony occurs when King Duncan gives a pleasant speech about his host, not knowing they plan to assassinate him (Shakespeare 14).

Dramatic irony occurs when Macbeth and the lords await the arrival of Banquo. Macbeth already has information about his murder. The audience is aware of Macbeth’s actions, but the characters are deceived. Macbeth says, “I drink to the general joy o’ the whole table, and to our friend Banquo, whom we miss, would he were here, I to all, and him, we thirst” (Shakespeare 39). He expresses how he anticipates the arrival of Banquo when he has been told by the first murderer about his death.

Another instance of dramatic irony is when Macbeth speaks to Banquo’s ghost, and the guests consider him a disturbed man. They claim he needs to be left alone. The characters are not aware, as much as the audience, that Banquo’s ghost is in their midst (Shakespeare 38).

The audience is aware of Macbeth’s murders when the characters still consider him an honest man. There are other dramatic ironies in the play, such as the plot by the three witches and Hecate to deceive Macbeth. The dramatic ironies are used to emphasize the treacherous plots that the innocent-looking faces conceal. It also creates suspense that keeps the audience anticipating reaction when the truth is revealed.

In Act V, Scene V, Shakespeare brings out the theme of ambition through Macbeth’s speech. He speaks about the brevity of life and anxiety during critical times. However, a major theme that fits the description is ambition. Tales of ambitious people are “full of sound and fury” (Shakespeare 65). Ross describes it as “Thriftless ambition, that wilt ravin up thine own life’s mean!” (Shakespeare 28). Ambition comes with a lot of energy, but it is short-lived.

Shakespeare develops the theme by the people he uses to talk about the future. He uses the three witches to forecast what is going to happen. The three witches have been used to tell the story of the brief life of Macbeth. They have made him more ambitious than they found him.

Shakespeare uses the porter to give the impression of what is likely to happen. The porter fits the description of a tale “told by an idiot, full of sound and fury” (Shakespeare 65). The porter says, “Here’s a farmer that hanged himself on the expectation of plenty” (Shakespeare 22). The porter gives a clear picture of what is about to happen.

The tale of the ambitious that is told no more after their death includes that of the Thane of Cawdor. He had supported the king of Norway (Shakespeare 6). His story is told no more after his death. The death of Banquo is another example of an ambitious person with a brief life. In Act III, Scene I, Banquo had thoughts of assassinating Macbeth (Shakespeare 29). He becomes part of a tale told by an idiot. Lady Macbeth also forms part of the same tale, the tale of ambition.

Political legitimacy occurs when the king reigns because he deserves to reign. It includes overall acceptance by the people. Macbeth’s political legitimacy is based on deception. He creates the assumption that Donalbain and Malcolm killed their father, which is supported by their escape (Shakespeare 28). He kills King Duncan’s guards to prevent further investigation into the matter. He is named king based on the assumption that he is virtuous.

One of the characteristics associated with moral legitimacy is the ability to win the trust of friends. Malcolm’s questioning of Macduff shows that to be trusted by friends may grant the moral legitimacy of absolute power (Shakespeare 53). In the play, the lords have a strong influence on the person in power. Macbeth does not want to kill Banquo in the open because the lords will be upset. They may desert him.

Macbeth’s action, of killing anyone who differs with him, makes him a tyrant. How he carries the killings makes most of the people hate him. Duncan is seen as a good king. In the case of the Thane of Cawdor, he does not give commands to eliminate the entire family. Duncan rewards Macbeth for his bravery on the battlefield. He shows the characteristics of a good king. Duncan does not use deceit and can be trusted by the rich. On the other hand, Macbeth is a threat to anyone who has some influence on running the kingdom.

Macbeth describes Duncan as a king whose actions are transparent. He has nothing evil to hide. In Act, I, Scene VII, Macbeth says, “Besides, this Duncan hath borne his faculties so meek, hath been so clear in his great office that his virtues will plead like angels” (Shakespeare 16). On the other hand, Macbeth has many deeds; he would not like people to know. They would not accept him as king if it were known.

In summary, deception and murder make Macbeth a tyrant. Macbeth follows no fundamental rules in his reign. On the other hand, Duncan conducts his actions in a transparent manner. He follows some fundamental rules in his reign.

Shakespeare has explored the issue of gender. In Act IV, Scene I, the second apparition tells Macbeth, “Be bloody, bold, and resolute; laugh to scorn, the power of a man” (Shakespeare 46). The apparition indicates that a powerful man should care the least of what people are saying about him.

He should be resolute and carry out his actions firmly. Aggression is another value that may be taken from the words “be bloody.” Macbeth takes the advice and executes anyone who appears suspicious. A powerful man has to be bold. Masculinity is expressed through boldness, aggression, and making firm decisions.

Soldiers are portrayed through their masculine roles. Macbeth refers to his servant as a soldier’s patch because he lacks bravery (Shakespeare 62). Ross applauds Young Siward for his death as a warrior. He claims that it is deserved. Ross describes that “he only lived till he was a man; The which no sooner had his prowess confirmed…” (Shakespeare 69). Young Siward confirmed his masculinity through his skills on the battlefield.

Shakespeare’s exploration of gender is seen in the conversation between the three witches. In Act, I, Scene III, the first witch asks, “Where hast thou been, sister?” (Shakespeare 6). The Second Witch answers, “Killing swine.” (Shakespeare 6). Shakespeare subverts the perception of gender by capturing the description of a woman who has been hunting. Hunting is associated with masculinity.

Another instance of subversion of gender occurs between Lady Macbeth and Macbeth in Act II, Scene II. Macbeth says, “I’ll go no more: I am afraid to think what I have done” (Shakespeare 21). Lady Macbeth takes the blades and lays them next to the king’s guards. Macbeth is afraid of going back into the room. Lady Macbeth appears bolder than Macbeth. Bravery is a major value that keeps reoccurring with masculinity.

Motifs are ideas that keep on reoccurring. In this analysis, “nature” as a motif is investigated. Shakespeare uses “nature” as a motif to distinguish between that which is good and that which is evil. Something may be bad, but also unnatural. He uses “nature” to give degrees to the evil deeds that people may choose. If it is unnatural, then it is also unusual.

In Act I, Scene II, when the sergeant speaks to Duncan, the first application of the word “nature” occurs. He refers to MacDonald as a person whose nature is to be rebellious. Shakespeare may have used the sergeant’s speech to create the mood for the expectation of rebellion. The sergeant claims, “The multiplying villainies of nature, do swarm upon him” (Shakespeare 5). It creates the mood of rebellion by referring to multiplying rebellion as natural. Rebellion is made to appear common for some people.

Nature has been used concerning sleep in Act II, Scene II. Macbeth refers to sleep as “balm of hurt minds, great nature’s second course, chief nourisher in life’s feast” (Shakespeare 21). Using nature as a value in sleep makes it be considered with utmost importance. The value of sleep is intensified. Shakespeare creates a mood that supports the theme of anxiety. Both Macbeth and his wife will be sleepless and restless when the play approaches a climax. Sleep’s grand importance is elaborated when Lady Macbeth sleepwalks.

Lady Macbeth refers to Macbeth’s condition like lack of natural sleep when he speaks to a ghost. Lady Macbeth says, “You lack the season of all natures, sleep” (Shakespeare 40).

Nature has been used by Macbeth in Act III, Scene IV. Macbeth refers to the ghost’s cheeks as having kept “the natural ruby” (Shakespeare 40). Shakespeare builds the mood of fear. Banquo’s nature is to be rebellious, even in his death.

In many instances, Shakespeare allows Macbeth to speak about nature. Macbeth is defiant against the three witches. He demands that they answer his questions about whether they can control nature. Macbeth orders, “Though the treasure of nature’s germen may tumble all together, even till destruction sicken; answer me to what I ask you” Shakespeare 45).

Shakespeare tries to show that Macbeth is the least delusional of all people, yet he perceives ghosts. The apparitions and the witches appear more tangible if they are perceived by Macbeth. Macbeth is the only character who meets with the unnatural creatures frequently.

Good literature is one which creates human behavior, things, and events in a manner that amuses the reader. Good literature is weighed by the stylistic devices that it applies and how they are arranged in the plot. An over-use of devices may not always be good because it may create ambiguity for the reader.

In drama, the stylistic devices add a lot of value. Shakespeare’s plays usually use humor and personification. In Macbeth, humor has not been applied to a great extent. Personification has been used as Shakespeare’s main stylistic device. An example of personification is Macduff’s speech, “Bleed, bleed, poor country! Great tyranny! Lay thou thy basis sure” (Shakespeare, 52). Giving life to values emphasizes the kind of action they generate in the people that possess them.

He uses foreshadowing by the three witches and flashback by Macbeth to capture the interest of the audience. Macbeth can be considered good literature because it creates a plot cast in far-fetched deception. Very few can expect that Macbeth will turn against the king as the play starts.

In poetry, imagery is the most important aspect that makes a poem a good piece of art. A good poem will be measured by how differently the poet describes the same picture from other poets. For example, “I Hear America Singing” by Walt Whitman allows the reader to create the images of the sound of the people at work. In line 2-3, “Those of mechanics, each one singing his as it should be blithe and strong” (Whitman par. 1).

Another example is John Keats’ “This Living Hand.” In the first two lines, he writes, “This living hand, now warm and capable, of earnest grasping, would if it were cold…” (Hirsch par. 2). Hirsch (par. 1) explains that he was able to feel the hand as he was reading the lines. Poetry is about the ability to make the reader form those images you describe. The reader should be amused at the similarities and the linkages that the poet creates from different things.

Hirsch, Edward. On John Keats’s “This Living Hand” . Web.

Shakespeare, William. Macbeth . Web.

Whitman, Walt. I Hear America Singing . Web.

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Bibliography

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by William Shakespeare

Macbeth irony, duncan's arrival.

In Act One, when King Duncan arrives at Macbeth's castle, he says, "This castle hath a pleasant seat" (1.6). This statement is an example of verbal irony because, though Duncan feels welcome and comfortable in the castle, the audience knows it will soon be the setting for his murder.

Macbeth's News

After murdering Duncan, Macbeth informs Malcom and Donalbain of their father's death, saying, "The spring, the head, the fountain of your blood / Is stopped; the very source of it is stopped" (2.3). Here, Macbeth appears aggrieved and shocked by Duncan's death, but in actuality is the very murderer who took the king's life.

Lady Macbeth

Lady's Macbeth's incessant washing of her hands represents a moment of dramatic irony in the play. While the other characters in the scene assume she has simply gone mad, the audience knows that her behavior stems from her own sense of guilt over having taken part in Duncan's murder.

The witches prophecy that Macbeth will become king and will not be overthrown by any man "of woman born" (4.1). Their prophecy leaves little doubt over Macbeth's continued rule, but the audience knows that Macbeth is a tragedy and that the lead character will soon fall. The witches' prophecy therefore represents a moment of situational irony, as the audience knows that their prediction will in some way be challenged, despite not knowing how (eventually, the audience will learn that Macduff was born by Caesarian section, and therefore not "of woman").

Macbeth Questions and Answers

The Question and Answer section for Macbeth is a great resource to ask questions, find answers, and discuss the novel.

The third which says that Banquo's sons shall be kings, Thou shalt get kings, though thou be none. So all hail, Macbeth and Banquo!

Macbeth Act 1 Scene 3 questions

What is significant about the first words that Macbeth speaks in the play?

A motif or recurring idea in the play is equivocation. There is the balance of the dark and the light, the good and the bad. Macbeth's first line reflects this. It...

What news took the wind out of Macbeth's invincibility?

Macbeth rethinks his invincibility when MacDuff tells him that he was torn from his mother's womb.

Study Guide for Macbeth

Macbeth study guide contains a biography of William Shakespeare, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About Macbeth
• Macbeth Summary
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Essays for Macbeth

Macbeth essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Macbeth by William Shakespeare.

• Serpentine Imagery in Shakespeare's Macbeth
• Macbeth's Evolution
• Jumping the Life to Come
• Deceptive Appearances in Macbeth
• Unity in Shakespeare's Tragedies

Lesson Plan for Macbeth

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Macbeth
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• Macbeth Bibliography

E-Text of Macbeth

Macbeth e-text contains the full text of Macbeth by William Shakespeare.

• Persons Represented
• Act I, Scene I
• Act I, Scene II
• Act I, Scene III
• Act I, Scene IV

Wikipedia Entries for Macbeth

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Dramatic Irony

Dramatic Irony Definition

What is dramatic irony? Here’s a quick and simple definition:

Dramatic irony is a plot device often used in theater, literature, film, and television to highlight the difference between a character's understanding of a given situation, and that of the audience. More specifically, in dramatic irony the reader or audience has knowledge of some critical piece of information, while the character or characters to whom the information pertains are "in the dark"—that is, they do not yet themselves have the same knowledge as the audience. A straightforward example of this would be any scene from a horror film in which the audience might shout "Don't go in there!"—since that character doesn't suspect anything, but the audience already knows their fate.

Some additional key details about dramatic irony:

• This type of irony is called "dramatic" not because it has any exaggerated or tragic qualities, but because it originated in ancient Greek drama. Dramatic irony is particularly well-suited for the stage: in an ordinary play, the characters enter and exit constantly and even the scenery may change, but the audience stays in place, so at any given point their understanding of the story is bound to be more complete than any one character's understanding may be.
• Classical theatre typically employed the device to create a sense of tension—it's a very common device in tragedies. Modern-day cinema and television also often use dramatic irony to rack up laughs, since it can have a strong comedic effect.
• In the last twenty years or so, the term " irony " has become popular to describe an attitude of detachment or subversive humor. This entry isn't about that type of irony—or any of the other types of irony that exist (see more below). This entry focuses on dramatic irony as a literary device.

How to Pronounce Dramatic Irony

Here's how to pronounce dramatic irony: druh- mat -ick eye -run-ee

Dramatic Irony in Depth

Dramatic irony is used to create several layers of perspective on a single set of events: some characters know very little, some know quite a lot, and the audience in most cases knows the fullest version of the story. This device allows the audience to perceive the events in many different ways at once, and to appreciate the ways in which certain slight deficits of information can create vastly different responses to the same set of events. Sometimes these differences are comical, and sometimes they are painful and tragic. It's funny to watch Regina from Mean Girls stuff down "weight loss bars" we really know are weight gain bars, but it is painful to watch Snow White unknowingly bite into an apple that we the audience know is poisoned.

When Characters are in on the Dramatic Irony

In some literary works, one of the characters knows much more than the others, and so becomes a kind of secondary audience, displaying the pleasures and misunderstandings of dramatic irony directly on the stage. For instance, In Oscar Wilde's The Importance of Being Earnest , only Algernon and the audience know that Jack and Ernest are really one and the same person (or, rather, that Jack has invented Ernest). Algernon's amusement at the mishaps that ensue from this lie mirrors the audience's delight.

How Dramatic Irony Relates to Other Types of Irony

Irony is a broad term that encompasses quite a few types of irony, which we describe below. To better understand dramatic irony, it's helpful to compare it briefly with the other types of irony, each of which has a separate meaning and uses.

Dramatic Irony vs. Irony

Generally speaking, irony is a disconnect between appearance and reality which points toward a greater insight. Aristotle described irony in loftier terms as a “dissembling toward the inner core of truth.” Dramatic irony fits under this broader definition, since it involves a character having a disconnect between what they perceive (which is an incomplete version of the story) and reality (about which the audience, and perhaps other characters, have knowledge). Therefore, every example of dramatic irony is also an example of irony, but not every example of irony is an example of dramatic irony.

Dramatic Irony vs. Verbal Irony

Verbal irony is the most common type of irony, in which what one says is different from what one means. The definition of verbal irony is often mistakenly used in place of a more general definition of irony because, in a way, it is the most direct representation of the quality that unites all the different kinds of irony: a disconnect between perception and reality. Unlike other forms of irony, verbal irony can be communicated by tone only, as when someone wearily says "What lovely weather we're having" on a dark and rainy day. In that case, the speaker's true meaning would be clear to his listeners. But a subtler form of verbal irony can also serve as an example of dramatic irony. For example, let's say two people are leaving the theater after seeing the matinee of an awful play. A third person, who is on his way to see the evening show, asks them how it was; they glance at each other, and politely tell the stranger that the play was "very interesting." This is an example of subtle verbal irony, but since only the two who have already seen the play know how bad it was—and only they understand the true meaning of their words—it's also an example of dramatic irony.

Dramatic Irony vs. Situational Irony

Another common form of irony is situational irony , which is another useful and common plot device. An event in a work of literature can be said to be an example of situational irony if the outcome of a series of actions turns out markedly differently than expected—a paradoxical or perverse outcome, rather than simply a surprising or interesting one. This form, too, can overlap with dramatic irony. The end of Romeo and Juliet is one example of situational irony overlapping with dramatic irony: at the play's end, Romeo drinks poison, intending to join Juliet in death, but (since she only appears to be dead) his action results in him abandoning Juliet in life. That's an example of situational irony. But since the audience already knows what Romeo doesn't when they watch him drink poison (i.e., they know that Juliet isn't really dead), the scene is also an example of dramatic irony.

Other Forms of Irony

Less common forms of irony include cosmic irony, in which fateful or divine forces continually foil a character's strivings; historical irony, in which a historical event turns out to have a very different meaning in hindsight; and Socratic irony, a conversational technique described in Plato's dialogues, in which a speaker feigns ignorance in order to trick their interlocutor into revealing the flaws in his or her own argument. These, too, can serve as examples of dramatic irony under the right circumstances—specifically, whenever the audience or reader understands more than the character or characters involved.

Dramatic Irony Examples

Examples in literature, dramatic irony in tess of the d'urbervilles.

Dramatic irony often plays a significant structural role in stories defined by secrecy and suffering, so it's no surprise that it appears frequently in the novels of Thomas Hardy. In Tess of the d'Urbervilles , dramatic irony defines the relationship between Tess, the heroine, and Angel, a suitor. Early on, before they are acquainted, Angel says to himself:

"What a fresh and virginal daughter of Nature that milkmaid is!"

His exclamation is an example of dramatic irony, because the reader knows that Tess mothered a child that was conceived as a result of rape. Later on, when Angel asks for Tess's hand in marriage, Tess hesitates to accept, because she can't bring herself to tell Angel about her illegitimate child. Her moment of hesitation is a further example of dramatic irony, because the reader understands the reason for Tess's hesitation, but Angel does not. These are only two among many such moments in the novel. Here, the device emphasizes the tragedy of misunderstandings, and the cruelty of certain kinds of prejudice.

Dramatic Irony in An Ideal Husband

Oscar Wilde's madcap plays are also full of dramatic irony, but to a quite different effect. Here, dramatic irony is mainly a comedic tool, where—even if the mishaps have serious implications—they are used to draw out the follies and absurdities of the protagonists.

In An Ideal Husband , the protagonist, Sir Chiltern, is asked by a mysterious woman from his past to use his political clout in support of a financial scam. Sir Chiltern refuses her, and tells his wife of his decision. Later, the woman, who is named Mrs. Cheveley, privately threatens to ruin Sir Chiltern's career if he doesn't comply with her request, and he is forced to comply. Mrs. Cheveley then triumphantly announces Sir Chiltern's decision to his wife, Lady Chiltern, who is shocked to learn of her husband's corruption:

Lady Chiltern: Why did you wish to meet my husband, Mrs. Cheveley? Mrs. Cheveley: Oh, I will tell you. I wanted to interest him in this Argentine Canal scheme, of which I dare say you have heard. And I found him most susceptible,—susceptible to reason, I mean. A rare thing in a man. I converted him in ten minutes. He is going to make a speech in the House to-morrow night in favour of the idea. We must go to the Ladies’ Gallery and hear him! It will be a great occasion!

The above exchange is an example of dramatic irony because only the audience understands the real meaning of Mrs. Cheveley's slip of the tongue when she uses the word "susceptible" (as in, susceptible to blackmail), while Lady Chiltern remains ignorant.

Dramatic Irony in Oedipus Rex

One of the earliest and most famous, albeit unusual, examples of dramatic irony takes place in Sophocles' Oedipus Rex. The play describes King Oedipus's attempts to find and punish the man who murdered the former King Laius. Oedipus often speaks out vehemently against the murderer, as, for example, when he says:

Now my curse on the murderer. Whoever he is, a lone man unknown in his crime or one among many, let that man drag out his life in agony, step by painful step—

What Oedipus doesn't know until the very end of the play is that he himself murdered King Laius, and that he is inadvertently cursing himself. Although this revelation is hinted at here and throughout the play, it isn't made explicit until much later. However, because ancient Greek plays often told mythological stories whose plots were already well-known to all theatre-goers, the audience would certainly have known the secret of Oedipus's identity, and his words would have rung with a double meaning informed by dramatic irony.

Examples of Dramatic Irony in Horror Films

Dramatic irony appears frequently in horror movies, because it lends such stories an extra measure of painful suspense.

Dramatic Irony in Night of the Living Dead

At the end of the film, Ben, the protagonist, is the only human left alive in the house after a zombie attack. But when the police arrive looking for survivors and see Ben in the window, they assume he is a ghoul and shoot him on sight. Only the audience understands the meaning of their action; the police themselves remain ignorant.

Dramatic Irony in Halloween

In this beloved classic, a killer hides in the Wallace house and murders every teenager that enters, one by one. The audience quickly realizes that anyone who enters the house is doomed, but the kids themselves suspect nothing, and walk naïvely into the trap. Their ignorance, coupled with the audience's knowledge of their certain deaths, creates an extended, nail-biting sense of dramatic irony.

Dramatic Irony in A Nightmare on Elm Street

Throughout this classic film, adults laughingly dismiss a girl named Nancy’s claim that a killer is pursuing her in her sleep, but the audience has seen the killer at work, and knows that the violence he does in dreams leaves tangible marks in real life—so the adults' blithe attitudes are tinged with dramatic irony for the audience.

Examples of Dramatic Irony in Television

Dramatic irony in three's company.

Dramatic irony is the main gag in Three’s Company , an old sitcom about a man living with two women under the watchful eye of a suspicious landlord. To convince their landlord that the arrangement is not unsavory, the roommates tell a lie—that the man is gay—though in fact there is actually a great deal of romantic tension between the three of them. The humor in nearly every episode is premised on the contrast between the landlord’s ignorance and the audience’s knowledge of this secret.

Dramatic Irony in Buffy the Vampire Slayer

One example of dramatic irony in the television series Buffy takes place when Buffy's boyfriend Angel loses his soul, but Buffy remains unaware. Angel then treats Buffy cruelly, causing drama and distress, though only the audience at first understands the reason for his unusual behavior.

Why Do Writers Use Dramatic Irony?

Dramatic irony can serve a wide variety of purposes. Structurally, it is an excellent tool in both tragedy and comedy: it can create suspense or sharpen a story's emotional appeal, but it can also lead to a series of comical misunderstandings. It can make the audience feel as though they are in a privileged position of knowledge or understanding, compared to the ignorance of the characters, but it can also make them feel helpless as they watch events roll to their inevitable and tragic conclusion. More generally, dramatic irony shows that all perspectives are partial and limited, and that nothing is ever as it seems.

Other Helpful Dramatic Irony Resources

• Wikipedia page for irony (with a subsection for dramatic irony).
• A video of Lemony Snicket speaking about dramatic irony, from the television show A Series Of Unfortunate Events.
• An extensive list of examples of dramatic irony in different forms of media.

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Dramatic Irony in Macbeth

Table of Contents

Introduction

William Shakespeare  effectively uses dramatic irony to intrigue the reader and deepen the impact of the consequences Macbeth ultimately faces. Dramatic Irony Definition: Dramatic Irony is a literary term that defines a situation in the play where the reader knows more than the character does. Thesis: Throughout the play Macbeth, the reader is given the advantage of knowing more things than the characters in the play through the literary device, dramatic irony.

This results in suspense and heightens the flaws of the characters.

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Background Knowledge

Point #1- Witches lie to Macbeth: Quote: “All hail Macbeth, hail to thee, Thane of Cawdor”! – Second Witch (Act 1 Scene 3). This is ironic because Macbeth does not actually know that King Duncan has already made him the Thane of Cawdor. This is meaningful due to the fact that it makes Macbeth trust the witches. It relates to villainous nature because the witches have their evil schemes all planned out beforehand. This is significant because Macbeth needs to be the Thane of Cawdor so that he can have the King sleep in his castle to fulfill their prophecy.

Point #2- Macbeth wears a mask: Quote: “There’s no art to find the mind’s construction in the face. He was a gentleman on who, I built an absolute trust. ” – King Duncan (Act 1 Scene 4). The irony in this extract is made obvious when King Duncan, a noble and truthful king, trusts the Thane of Cawdor, and immediately after he says this- Macbeth enters. Shakespeare presents dramatic irony to the audience when Macbeth enters the room.

Duncan is talking about trust and this is ironic because Macbeth will ultimately kill King Duncan. Macbeth’s duplicity is displayed when Duncan greets Macbeth by saying “O worthiest cousin” to which he responds “the service and loyalty I owe in doing it pays itself.

Point #3- Macbeth wishing Banquo safety on his journey: Quote: “This castle hath a pleasant seat; the air nimbly and sweetly recommends itself unto our gentle senses. ”- King Duncan (Act 1 Scene 6). This section highlights the incredible Irony of the situation.

King Duncan has been invited into Macbeth’s home, to dine and enjoy himself. He expects to have a great time and is ridiculously thankful, yet what makes this ironic is the fact that the hostess that he is praising is conspiring to kill him he will be murdered that night. This represents the duplicitous nature of Macbeth, as the outward nobility of his character is contrasted greatly to his true spirit.

Point #4- Macbeth planning to kill Banquo: Quote: “I wish your horses swift, and sure foot- and so I do commend you to their backs. Farewell. Let every man be master of his time till seven at night- To make society the sweeter welcome, we will keep yourself till supper-time alone- While then, god be with you”- Macbeth. (Act 3 Scene 1). The irony is shown because we (the readers) know that Macbeth is plotting the murder of Banquo due to the witches’ prophecy. This is meaningful because we are learning more about Macbeth’s character and it develops tension for the reader keeping them interested. This relates to the plays dramatic irony as it shows how he is trying to be friendly to Banquo; meanwhile, he is trying to murder King Duncan.

Dramatic Irony highlights character development.

Point #5- Macbeth and Lady Macbeth switch roles: Quote: “Naught’s had, all’s spent, where our desire is got without content. ‘Tis safer to be that which we destroy than be destruction dwell in doubtful of joy. ” – Lady Macbeth (Act 3 Scene2). Dramatic irony is present because just prior to this scene, Macbeth has convinced murderers to kill Banquo to prevent him from getting his way. Although, Lady Macbeth speaks to how she would rather be killed than be the killer.

The irony is that Lady Macbeth, the original killer of Duncan (person who convinced Macbeth) now hates killing, but Macbeth, the originally feeble one now loves it. It relates to evil genius by highlighting that Macbeth will not let anyone, not even his best friend, stop him in his insatiable quest of power. Shakespeare has done this to position the audience to further hate Macbeth.

Point #6- Witches fool Macbeth for the second time: Quote: “Macbeth shall never vanquished be, until Great Birnham wood to high Dunsinian Hill shall come against him. ”- Witches (Act 4 Scene 1).

The witches are stating that Macbeth will always be king, until the day that the trees of Great Birnham wood march up to Dunsinian Hill, and that day will almost certainly never come true. This is very much ironic due to the fact that Macduff was able to kill Macbeth because he did not have a natural “woman born” birth. The witches have made a very ironic prophecy.

Point #7- Lady Macduff lies to her son: Quote: “Son: Was my father a traitor, Mother, Lady Macduff: Ay, that he was, Son: What is a traitor, Lady Macduff: Why one that swears and lies”. Act 4 Scene 2). This scene is between Lady Macduff and her son when Macduff has “run off” to England. This scene displays dramatic irony because while Lady Macduff is telling her son that his father is a traitor and liar, Macduff is gone to England to save the horrors that Scotland is now facing because of the evil King Macbeth. It is also dramatic tension as the audience knows that this is leading up to the hazards of living in the kingdom. The scene foreshadows the knowledge that something bad will happen.

Point #8- Ross sugar coats the news to Macduff: Quote: “Macduff: How does my wife? Ross: Well, too. ” (Act 4, Scene 3). This is an instance of dramatic irony because not only do we (the readers) know that Ross is lying about Macduff’s family but we also know that Macduff’s family has been murdered. This quotation is significant to the understanding of Macbeth’s character. Evidently, Macbeth is willing to go to any extent to keep his position as king and abuses his power in the massacre of many innocent people.

Clift, Rebecca. (1999). Irony in conversation. Language in Society. 28. 10.1017/S0047404599004029. This article proposes the adoption of Goffman’s concept of to characterize irony across its forms; the suggestion that this framing is achieved by a shift of footing reveals links between verbal irony and other forms of talk. Examination of irony in conversation shows how the shift of footing allows for detachment, enabling the ironist to make evaluations in response to perceived transgressions with reference to common assumptions.

Questions and Answers

Q: I am trying to look for dramatic irony in acts 1 and 2 from Macbeth. 

A: Dramatic irony is, simply put, when the audience knows something the characters in a book or play do not know. (You knew that already) 

MACBETH So foul and fair a day I have not seen. BANQUO How far is ’t called to Forres?—What are these So withered and so wild in their attire, That look not like th’ inhabitants o’ th’ Earth, And yet are on ’t?—Live you? Or are you aught That man may question? You seem to understand me, By each at once her choppy finger laying Upon her skinny lips. You should be women, And yet your beards forbid me to interpret That you are so.

This is an example of Dramatic Irony because the audience knows the witches are plotting to put a curse on Macbeth, but Macbeth and Duncan do not know this.

Q: Examples of dramatic irony that revals character in act one, scene 4.

A: In Act 1 Scene 4, King Duncan praises Macbeth:

DUNCAN … Only I have left to say, More is thy due than more than all can pay.

And Macbeth responds:

MACBETH The service and the loyalty I owe, In doing it, pays itself. Your highness’ part Is to receive our duties; and our duties Are to your throne and state children and servants, Which do but what they should, by doing every thing Safe toward your love and honour.

Basically, Macbeth tells Duncan that it’s his honour and duty to look after Duncan and his family with service and loyalty. Macbeth portrays himself to the king as devoted to Duncan’s service, and not intending anything treacherous against the king.

But Duncan then names his eldest son as his heir to the throne, which puts a barrier in the way of Macbeth’s ambitions to the Scottish throne. Macbeth hints at his ambitions as being dark:

MACBETH: The Prince of Cumberland! that is a step On which I must fall down, or else o’erleap, For in my way it lies. Stars, hide your fires; Let not light see my black and deep desires: The eye wink at the hand; yet let that be, Which the eye fears, when it is done, to see.

Yet even after Macbeth reveals that he has such dark ambitions after the kingship, King Duncan praises him after he leaves the scene.

DUNCAN True, worthy Banquo; he is full so valiant, And in his commendations I am fed; It is a banquet to me. Let’s after him, Whose care is gone before to bid us welcome: It is a peerless kinsman.

The contrast between Macbeth’s revelation of his true intentions, and Duncan’s high opinion of him, makes for a strong dramatic irony at the close of the scene.

Essay Keywords:  Macbeth Introduction, Dramatic irony, impact of the consequences Macbeth, play Macbeth, Dramatic Irony Definition.

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Dramatic Irony in Shakespeare’s Macbeth

Dramatic irony plays an important and interesting role in Macbeth. Firstly, the phrase must not contain ironical statements as those of Lennox in the Seven Scene of Act III. Secondly, the phrase is also to be contrasted with the lesser drama of fortune or other circumstances. Thirdly, the term, dramatic irony, clearly communicates the point of the characters acting or saying something ironic.

Shakespeare first used the term drama of ironical, when he wrote King Lear . The king, affected by the death of his son Mowbray, says, ‘Nay, if I were born to die at this time, I had rather be born to serve, than to serve at the pleasure of another.’ This dramatic irony carries the sense of the audience that the king cares for the others, even if he is preoccupied with his own happiness.

Dramatic irony is found throughout the play , but is especially apparent in Macbeth’s character. At the beginning of the play, when Macbeth is placed in the center of the throne, surrounded by the people who are willing to rule him, and Macduff, one of his enemies, he speaks with calmness and poignancy. He then proceeds to murder Macduff, but not before telling the people what he plans to do to them, if they fall into disobeying him: he will behead them all and hang their heads until they come back to England. It is this ominous comparison between the seriousness with which Macbeth speaks and his actual actions which makes this play so significant.

However, by the end of the play, Macbeth has fallen completely out of his Ironical nature . He is no longer capable of ironical speech, and the audience knows it. But is there really anything to lose by having a little Ironical? Is there anything that prevents us from feeling sorry for Macbeth? And if we do feel sorry for him, what does that mean for the other characters?

For starters, it means that Macbeth has achieved in this play his most accomplished role – he has killed the one person who was supposed to prevent him from descending further into madness. However, in order for us to feel sorry for Macbeth, we have to detach ourselves from the tragic circumstances of his life and from the social conditions that produced those events. If Shakespeare didn’t want us to feel sorry for Macbeth, he wouldn’t have written a play which made such an important point .

The importance of ironical comedies goes far beyond the mere development of Macbeth’s character . Far from being a sign of decline in culture and intellect, they suggest a kind of intellectual stimulation and, where possible, hope. The most memorable scene in Macbeth is when he accusesane of adultery, and when the women are brought to the cart carrying their husbands’ dead bodies, Macbeth’s first instinct is to push them into the river, but then he realises that what he is doing is not right and that they are still lovers. This suggests to the audience that even if he murders of these women , they are not doomed to be his future victims. So, even while Macbeth murders for revenge, we know that he will ultimately find true love and happiness – just as in Melville when the last of the townspeople kill themselves in order to avoid being sold into slavery. The play also suggests that whereas earlier in his career Macbeth was the butt of many cruel jokes, by the end of the play he is revered as a great and powerful leader.

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Irony In Macbeth

Macbeth is a play written by William Shakespeare. The play is full of irony, and Macbeth is no exception. Macbeth is an example of dramatic irony, as the audience knows something that the characters do not. In this instance, the audience knows that Macbeth is going to be king, while Macbeth himself does not know this yet. This creates a sense of suspense and tension as the audience waits to see how Macbeth will react when he finally finds out.

Verbal irony is also present in Macbeth. An example of this can be seen in Act I, Scene III, when Lady Macbeth says to her husband “Great Glamis worthy Cawdor! Greater than both, by the all-hail hereafter!” Of course, at this point in the play, Macbeth is not actually king yet – he is only the Thane of Cawdor. Lady Macbeth is using verbal irony to say that her husband is already greater than he currently is.

Situational irony is another form of irony that can be found in Macbeth. An example of this occurs in Act IV, Scene III, when Macbeth says “I have lived long enough: my way of life / Is fall’n into the sear, the yellow leaf.” Here, Macbeth is talking about how he feels that his life has passed him by and he is now nearing the end.

Macbeth is a historical drama set in Scotland during the reign of Duncan I. The play follows the ambitious Scottish general, Macbeth, who attempts to usurp his king, Malcolm. It has been suggested that Shakespeare utilizes dramatic irony effectively to pique and enhance the impact of the outcomes Macbeth faces.

Dramatic Irony Definition: The term “dramatic irony” refers to a situation in a play in which the reader knows more than the characters do. Thesis: Through the literary device known as dramatic irony, readers are given an advantage over the characters in Macbeth.

This allows for a greater understanding of the plot, as well as the motivations behind certain actions. In Macbeth, there are several instances of dramatic irony which add to the overall impact of the play. One such example is when Macduff, learning of his family’s slaughter, exclaims “O horror, horror, horror! Tongue nor heart Cannot conceive nor name thee!” (4.3.101-102).

The audience knows that Macduff was not actually killed, and his family only pretended to be killed in order to protect him. This knowledge creates a sense of suspense for the reader, as they wait to see how Macduff will react upon discovering the truth.

Another instance of dramatic irony in Macbeth is when Macbeth says “I am in blood / Stepp’d in so far that, should I wade no more, / Returning were as tedious as go o’er” (3.4.142-144). The audience knows that Macbeth is fully aware of his impending doom, but he chooses to continue down the path of destruction. This foreshadows the tragic end that awaits Macbeth, and makes the reader feel sympathy for him despite his actions.

The use of dramatic irony allows Shakespeare to create a deeper impact for the reader. These examples show how the reader is given information that the characters in the play are not privy to. This allows the reader to understand Macbeth better, as well as the motivations behind the characters’ actions. Dramatic irony provides a richer experience for the reader, and helps to create a more engaging plot.

The witches deceive Macbeth: “All hail, Macbeth, Thane of Cawdor!” – Second Witch (Act 1 Scene 3). This is ironic since Macbeth does not know that King Dun I have already made him the Thane of Cawdor. This is significant because it makes Macbeth believe in the witches’ promises. It has to do with the villainous nature of the witches because they have their diabolical schemes all laid out ahead of time. This is vital because in order to fulfill their prophecy, Macbeth must be the Thane of Cawdor.

Macbeth believes the witches: Macbeth is convinced by the witches that he will become king. He says to Banquo, “thou shalt get kings, though thou be none” (Act 1 Scene 3). This is ironic because Macbeth is not yet King, and Banquo will never be King. This is meaningful because Macbeth is gullible and easily led astray by the witches. It relates to his villainous nature because he immediately starts plotting ways to kill Duncan after hearing the prophecy. This is significant because it leads to Macbeth’s downfall.

The porter scene: The porter in Macbeth’s castle talks about how someone knocked at the gate, but “who can drink so much and not be drunk?” (Act 2 Scene 3). This is ironic because Macbeth has been drinking heavily to build up his courage to kill Duncan. Macduff also drinks a lot in this scene, but he is not drunk.

This is meaningful because it shows how Macbeth is trying to fool himself into thinking that he is not a murderer, when in reality he is. It relates to Macbeth’s villainous nature because he is trying to cover up his crimes. This is significant because it foreshadows Macbeth’s downfall.

In Act V, scene vii, when Macduff enters the castle where his wife and children are imprisoned, he is met by Lady Macbeth. His wife greets him warmly, as if nothing had ever happened between them, but her demeanor darkens quickly as she begins to question whether or not their relationship can survive this new terror.

The three witches arrive at nightfall with preparations underway for a banquet in celebration of Banquo’s son. He is greeted by an old woman who informs him that his father has been murdered—just like Banquo himself was just before! After being informed of the tragedy that befell his family earlier that day, Macduff enraged and vows to kill anyone who betrays him—including.

Another example of irony in Macbeth is the fact that Macbeth himself is unaware of the prophecy that the witches had bestowed upon him. He is told that he will be “thane of Cawdor” and “king hereafter”, yet he does not know that he will have to kill Duncan in order to achieve these titles. This lack of knowledge foreshadows Macbeth’s downfall, as his hubris leads him to believe that he can control his own destiny.

Lastly, Lady Macbeth’s ironic death completes the cycle of irony in Macbeth. After convincing her husband to commit regicide, she becomes plagued with guilt and eventually takes her own life. This is significant because it shows how unchecked ambition can lead to one’s undoing. Lady Macbeth is a victim of her own hubris, and her death is a tragic reminder of the dangers of overreaching.

In conclusion, Macbeth is full of irony, both situational and dramatic. It is this irony that drives the play forward and creates a sense of tension and foreboding throughout. Macbeth is a cautionary tale about the dangers of ambition, and the irony only serves to heighten this theme.

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Irony in Macbeth

Dramatic Irony is the result of information being shared with the audience but withheld from one or more of the characters. Example: In Act 1 Scene 4, line 50 , the witches hail Macbeth, “thane of Cawdor! ” Dramatic irony: At this point, Macbeth is unaware that the king has conferred this honor upon him because of his valor in battle, so he attributes his fortune to the witches’ prophecy. However, the audience knows Duncan made the pronouncement in Act 1, Scene 3. Purpose: This dramatic irony is to show Macbeth’s belief that the witches speak the truth and are responsible for his success.

This belief can, and does, influence his future actions. Example: In Act 1, Scene 6, line 1, Duncan says, “This castle hath a pleasant seat” Dramatic irony: When Duncan reaches the castle, he feels secure and welcome at the home of his loyal kinsmen. However, the audience is aware that he may be murdered that very night. It is also ironic that he calls the castle “a pleasant seat”, when it’s the place where he is eventually killed. Purpose: This irony is to contribute to suspense. Since the audience knows more than the character, the audience is positioned to wait for the character to gain awareness.

Irony in Macbeth In Shakespeare’s Macbeth there was a lot of irony, and Shakespeare intended the irony of the play to build and maintain suspense, while creating a vague sense of fear. For example, the irony in the play started out early, with the witches’ prophecies to Macbeth and Banquo. The prophecies to Macbeth were all ironic paradoxes. In Act I, Scene iii, the witches told Macbeth, “All hail, Macbeth! that shalt be king hereafter. ” This prophecy was ironic because even though it was true, it did not turn out how Macbeth expected it to.

Macbeth probably thought that being the king would be great. He would be rich, everyone would respect him, he’d have all the power in Scotland, and he thought that that would make him happy. Of course, since the witches’ prophecies were cleverly designed to manipulate his weak mind, Macbeth murdered Duncan to satisfy his ambition. In Act III, Scene ii, Lady Macbeth and Macbeth were discussing their feelings about being king and queen of Scotland after the murder. Said Lady Macbeth, “Nought’s had, all’s spent. Where our desire is got without content: ’Tis safer to be that which e destroy than, by destruction, dwell in doubtful joy. ” In Act III, Scene i Macbeth said of the witches and the murder, “For them the gracious Duncan have I murdered; put rancours in the vessel of my peace only for them; and mine eternal jewel given to the common enemy of man. ” In those sentences, we can see the irony in the witches’ prophecies. The implied meaning of the witches’ prophecies was that Macbeth would be king. Macbeth took this to mean that he would be a happy king, and so dreams of him on the throne appeared.

He thought that becoming king would be easy, he just had to get Duncan out of the way. Everything turned out as Macbeth had imagined, except that he was not happy as the king. The guilt from Duncan’s murder, not to mention that of Banquo’s, made being the king a horrible experience for Macbeth, all because of the witches. This irony would make the audience mistrust the witches in the back of their minds, and therefore also put a vague fear over the whole play, because of the realisation of the witches’ relentless sinister determination to disrupt peace and order in Scotland.

Another excellent example of irony in the play starts in Act II, Scene ii, shortly after the murder of Duncan. Macbeth had just committed the malicious act to satisfy his unchecked ambition, and he was quite shocked. In his words, “Will all great Neptune’s ocean wash this blood clean from my hand? ” The emotional effects of the murder hadn’t quite gotten through to Lady Macbeth yet, and so she nonchalantly replied, “A little water clears us of this deed. ” Eventually though, Lady Macbeth’s conscience affected her mind adversely, giving her a deep emotional disturbance.

In Act V, Scene i, Lady Macbeth had a fear of the dark and she had started sleep walking and talking to herself. As she was wandering the castle one night, she was obsessed with trying to wash the blood that she still felt and smelt from her hands, a huge change from Act II, Scene ii. She said, “Out, damned stop! out I say! ” and continued with, “What, will these hands ne’er be clean? ” This is definitely very ironic, since early in the play Lady Macbeth dismissed Macbeth’s concerns with little thought, and one would expect her not to ever think of them again.

As we can see in the play though, what was once a trifle to Lady Macbeth soon became a major issue when the realisation of what she had done in Duncan’s murder finally set in. As far as the audience is concerned, they would probably be shocked after the murder of Duncan, and find Lady Macbeth’s responses to Macbeth’s hysteria discomforting, thinking that Lady Macbeth must be a very evil person indeed. Later on though, when Lady Macbeth broke down mentally, the audience would feel a bit more of a vague sense of fear when they were reminded by Lady Macbeth of how terrible Duncan’s murder really was.

She was very composed at first, but soon she realised that she had done something horrendous and because of that realisation she died soon afterward. Another prime example of the play’s irony can be found in Act I, Scene vii, shortly before Duncan’s murder. The irony in this scene is called dramatic irony, meaning that the audience is aware of what is about to happen but the actors are not. For example, before this scene the audience has heard Macbeth’s soliloquies about murdering the king, and has been exposed to the mood-setting opening scenes.

By now the audience would probably be on the edge of their seats, waiting for Macbeth to slip a dagger out of his pocket and run towards Duncan. To the part of the audience that would be expecting this, the next scene would be much different than they would have imagined. Act I, Scene vii is set outside of Macbeth’s castle, in broad daylight (unlike most of the scenes in the play). When Duncan arrives, he comments, “This castle hath a pleasant seat; the air nimbly and sweetly recommends itself unto our gentle senses. Banquo is quick to agree, and he comments on the nice birds in the sky. Lady Macbeth, on the other hand, has taken to graciously welcoming the guests. The scene ends with Duncan taking Lady Macbeth’s hand, and allowing her to lead him into the castle of death to his murderer. This scene is a prime example of irony because its real meaning is much different that it appears. Looking at the scene alone, one would conclude that Duncan and the Macbeths are good friends, and this is just another pleasant visit.

In its context though, this scene is the beginning of Macbeth’s murder spree, and so the sunlight, birds, and nice weather make the scene all the more ironic. Apart from giving the audience a sense of brooding violence and veiled threats, this scene would also built a lot of suspense. When people saw Duncan walk into the palace, many would (rightly) suspect that he was walking obliviously to his doom. In short, this scene’s dramatic irony was a key factor in moulding the play’s suspense. Another excellent example of irony occurs in Act IV, Scene ii shortly before the Macduffs are murdered.

In the scene Lady Macduff was angry at her husband for fleeing to England, leaving her defenceless. Her son is talking to her, telling her how he’ll live without his father. He says that he’ll live like birds do, meaning living with what they get. The implied meaning in the beginning of this scene is that Lady Macbeth’s son will do just what he said he would, he’ll live with what he’ll get, and keep on living. His words are a paradox though, since the literal meaning of his words is much different than the implied meaning.

Once he finishes his speech, some of Macbeth’s hit men run in and stab him. The literal meaning of what he said, that he’d live “with what [he’d] get” is so much different than his implied meaning because he definitely got what he got, but he definitely didn’t keep on living. The irony of this would reinforce what Macbeth was saying at the time, that life is pointless, and would help to add to the malicious atmosphere of the play by making the audience feel as if what they did in life didn’t really matter. In conclusion, Macbeth is full of irony.

The irony in Macbeth is there to add to the suspense and the malicious mood of the play. Without the irony in Macbeth, the play would have been much different. For example, if Duncan’s visit to the castle took place at night, in the middle of a thunderstorm, with the Macbeths being hostile to him and the witches egging Macbeth on, the play would have lacked a good deal of suspense, and the audience might begin to get bored of the play, since it would not change much and it would be easy to predict what would happen.

If the witches hadn’t made their paradoxical prophecies to Macbeth, the play would be missing a lot of irony and the audience wouldn’t get much fear from watching the play, since they would just reason that Macbeth was insane to begin with. In short, the play, Macbethwouldn’t have been such an interesting, suspenseful, or terrifying play without irony. Clearly, Shakespeare intended the irony of the play to build and maintain suspense, while creating a vague sense of fear.

Author: Angel Bell

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Dramatic Irony in Macbeth

There is dramatic irony in Macbeth's speech in the royal banquet scene, as well as in his conversation with Banquo's ghost. There is much irony in Duncan's speeches as well, when he greets Macbeth as 'O worthiest cousin', his words prove ironical because Macbeth commits the most treacherous act by murdering him.

MACBETH (DRAMATIC IRONY)

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Critic’s Notebook

In a Pair of ‘Macbeth’ Productions, Only One Does Right by the Lady

One of Shakespeare’s most coveted roles for women gets different interpretations onstage in New York and Washington.

By Maya Phillips

“Macbeth” isn’t one of Shakespeare’s so-called “problem plays,” and yet, the vast contradictions and reversals of the central couple often present a problem for those staging it.

Two “Macbeth” productions now running — the Royal Lyceum Edinburgh’s “Macbeth (An Undoing),” at the Polonsky Shakespeare Center in Brooklyn, and the Shakespeare Theater Company’s “Macbeth” in Washington — take opposite approaches to the text, particularly in their depictions of Lady Macbeth. The results are two wildly different kinds of tragedies, one more successful than the other.

The project of “ Macbeth (An Undoing ),” written and directed by Zinnie Harris, is to re-evaluate the female characters in Shakespeare’s tragedy. The play, presented by Theater for a New Audience and the Rose Theater, begins as a loose adaptation of the material: Macbeth, a celebrated soldier fighting on behalf of Scotland, hears a prophecy from three weird sisters that he’ll get two promotions, including one to the throne. The Macbeths then pave their path to power by murdering everyone who could stand in their way.

With the exception of some modern paraphrasing, the unnecessary fan-fiction-esque addition of a romantic affair and a larger showing by the witches — who sometimes break the fourth wall and at others appear as servants — much of the first half of the show follows the original. In the second half, however, the production changes direction; Macbeth is the one who can’t seem to wash the blood off his hands. As he descends into the particular brand of madness usually reserved for Lady Macbeth, she transforms into the king. In fact, those around her begin addressing her as “sir” and “king.” Lady Macbeth, it turns out, has her own history with the witches, whom she sought out for medicine to prevent a miscarriage but neglected to pay when she still lost the child.

“So I am reduced to my infertility after all,” Lady Macbeth says to her husband when he accusingly interrogates her about the miscarriages. The line is one of several that the play offers as a rebuttal to some unclear larger discourse about the gender politics of “Macbeth.” “Unclear” because the ultimate irony (and failure) of “Macbeth (An Undoing)” is that in trying to subvert the gender politics of the original, it actually contradicts itself, making the character arcs and themes largely incoherent. So this Lady Macbeth complains about being characterized by her infertility, and yet the material that most heavily emphasizes her obsessive desire for a child are unique additions to this play not found in Shakespeare’s text.

Playing Lady Macbeth, Nicole Cooper is at her best when she offers a more realistic, matter-of-fact interpretation of the character in the first half of the production. But she and her Macbeth, played by Adam Best, lack chemistry, and the actors can’t negate the fact that instead of expanding the characters, the play’s role reversals flatten them. Shakespeare already built in a reversal between these characters; Macbeth’s early hesitance and caution shifts to untethered resolve, while Lady Macbeth’s early steadfastness shifts to guilt and madness.

In losing the tension between the couple’s seesawing consciences and intentions, “Macbeth (An Undoing)” also loses the context of the play’s great speeches. The famous “tomorrow and tomorrow and tomorrow” soliloquy, originally spoken by Macbeth in a state of grief-turned-apathy after learning of his wife’s death, loses its emotional weight when spoken by Lady Macbeth after she commits a murder.

There is, by the way, a good helping of murder in this version. And the blood flows freely. One character’s death comes with an almost comical deluge, audibly dripping onstage as the dialogue continues. Lady Macbeth, constantly plagued by blood spots, calls for more wardrobe changes than a contestant on “RuPaul’s Drag Race.” This kind of ceaseless repetition and constant over-explanation of the themes drags down the pacing of the play and makes for a tiresome experience.

“Macbeth (An Undoing)” ends with the same outcome and same body count, though the unnecessarily convoluted route the play takes, full of ineffective additions and alterations, and absent much of Shakespeare’s poetry, only further emphasizes the missing artistry of the original story.

These creative decisions minimize Cooper’s ability to get the most out of Lady Macbeth, who is perhaps the most coveted Shakespeare role for women as a complex character who already subverts stereotypes about women as lovers, mothers and caretakers.

The very proof is in Indira Varma’s absorbing performance opposite Ralph Fiennes in the production of “ Macbeth ” that opened on April 12 in D.C. Set in a former soundstage about three miles from the Shakespeare Theater Company’s usual space, this engrossing production draws audiences into a wrecked war zone that is then mirrored in the Macbeth household.

As played by Varma (known for her role on “Game of Thrones” ), Lady Macbeth is neither a vessel of unbridled female lust, as is often the case, nor an evil girl-boss. Her performance is built on Lady Macbeth’s earnest, wholesome love for her husband. Even when Lady Macbeth rolls up her sleeves and impatiently grabs the daggers from her husband after his bloody act of treason, there’s a brightness to her affections; she guides Macbeth through the next step of their plot with the soft yet forceful scolding of a mother to her hapless son.

Though the show’s aesthetic is grandiose, and occasionally otherworldly, with climactic lighting design and titillating sound design, the performances are refreshingly grounded. From the onset the director, Simon Godwin (who also directed the electric TV film version of “ Romeo and Juliet ,” and National Theater Live’s sensual “Antony and Cleopatra,” also starring Fiennes), paints a sophisticated picture of the central couple’s relationship, and their subsequent fall from grace.

Fiennes’s Macbeth fully owns his ambitions, and potential for regicide, but he’s also tense and cautious to the point of neuroticism. He lumbers across the stage with his shoulders hunched, looking like he’s always on the defensive. Macbeth’s ultimate shift is not toward insanity as much as it is to willfulness rooted in his newly acquired power and driven home by male ego.

And when Lady Macbeth goes mad, there’s still some degree of cogency to her condition; Varma’s tone, posture and temperament shift drastically but never lose their connection to the rest of her performance.

By the end, these Macbeths are transformed more significantly and imbued with more humanity than the reconsidered and restyled couple in “Macbeth (An Undoing).” Because even stuck in a plot of warring men, and on stages ruled by men, Shakespeare’s tragic lady can still summon a magic all her own.

Macbeth (An Undoing)

Through May 4 at Polonsky Shakespeare Center, Brooklyn; tfana.org . Running time: 2 hours 35 minutes.

Through May 5 at Shakespeare Theater Company, Washington, D.C.; shakespearetheatre.org . Running time: 2 hours 45 minutes.

Maya Phillips is an arts and culture critic for The Times.  More about Maya Phillips