best macbeth essays

William Shakespeare

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• Act I: Scene 1
• Act I: Scene 2
• Act I: Scene 3
• Act I: Scene 4
• Act I: Scene 5
• Act I: Scene 6
• Act I: Scene 7
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• Act II: Scene 2
• Act II: Scene 3
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• Act III: Scene 1
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• Act III: Scene 3
• Act III: Scene 4
• Act III: Scene 5
• Act III: Scene 6
• Act IV: Scene 1
• Act IV: Scene 2
• Act IV: Scene 3
• Act V: Scene 1
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• Act V: Scene 3
• Act V: Scene 4
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• Act V: Scene 6
• Act V: Scene 7
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Critical Essays Major Themes

The Fall of Man

The ancient Greek notion of tragedy concerned the fall of a great man, such as a king, from a position of superiority to a position of humility on account of his ambitious pride, or hubris . To the Greeks, such arrogance in human behavior was punishable by terrible vengeance. The tragic hero was to be pitied in his fallen plight but not necessarily forgiven: Greek tragedy frequently has a bleak outcome. Christian drama, on the other hand, always offers a ray of hope; hence, Macbeth ends with the coronation of Malcolm , a new leader who exhibits all the correct virtues for a king.

Macbeth exhibits elements that reflect the greatest Christian tragedy of all: the Fall of Man. In the Genesis story, it is the weakness of Adam, persuaded by his wife (who has in turn been seduced by the devil) which leads him to the proud assumption that he can "play God." But both stories offer room for hope: Christ will come to save mankind precisely because mankind has made the wrong choice through his own free will. In Christian terms, although Macbeth has acted tyrannically, criminally, and sinfully, he is not entirely beyond redemption in heaven.

Fortune, Fate, and Free Will

Fortune is another word for chance. The ancient view of human affairs frequently referred to the "Wheel of Fortune," according to which human life was something of a lottery. One could rise to the top of the wheel and enjoy the benefits of superiority, but only for a while. With an unpredictable swing up or down, one could equally easily crash to the base of the wheel.

Fate, on the other hand, is fixed. In a fatalistic universe, the length and outcome of one's life (destiny) is predetermined by external forces. In Macbeth, the Witches represent this influence. The play makes an important distinction: Fate may dictate what will be, but how that destiny comes about is a matter of chance (and, in a Christian world such as Macbeth's) of man's own choice or free will.

Although Macbeth is told he will become king, he is not told how to achieve the position of king: that much is up to him. We cannot blame him for becoming king (it is his Destiny), but we can blame him for the way in which he chooses to get there (by his own free will).

Kingship and Natural Order

Macbeth is set in a society in which the notion of honor to one's word and loyalty to one's superiors is absolute. At the top of this hierarchy is the king, God's representative on Earth. Other relationships also depend on loyalty: comradeship in warfare, hospitality of host towards guest, and the loyalty between husband and wife. In this play, all these basic societal relationships are perverted or broken. Lady Macbeth's domination over her husband, Macbeth's treacherous act of regicide, and his destruction of comradely and family bonds, all go against the natural order of things.

The medieval and renaissance view of the world saw a relationship between order on earth, the so-called microcosm , and order on the larger scale of the universe, or macrocosm. Thus, when Lennox and the Old Man talk of the terrifying alteration in the natural order of the universe — tempests, earthquakes, darkness at noon, and so on — these are all reflections of the breakage of the natural order that Macbeth has brought about in his own microcosmic world.

Disruption of Nature

Violent disruptions in nature — tempests, earthquakes, darkness at noon, and so on — parallel the unnatural and disruptive death of the monarch Duncan.

The medieval and renaissance view of the world saw a relationship between order on earth, the so-called microcosm, and order on the larger scale of the universe, or macrocosm. Thus, when Lennox and the Old Man talk of the terrifying alteration in the natural order of the universe (nature), these are all reflections of the breakage of the natural order that Macbeth has brought about in his own microcosmic world (society).

Many critics see the parallel between Duncan's death and disorder in nature as an affirmation of the divine right theory of kingship. As we witness in the play, Macbeth's murder of Duncan and his continued tyranny extends the disorder of the entire country.

Gender Roles

Lady Macbeth is the focus of much of the exploration of gender roles in the play. As Lady Macbeth propels her husband toward committing Duncan's murder, she indicates that she must take on masculine characteristics. Her most famous speech — located in Act I, Scene 5 — addresses this issue.

Clearly, gender is out of its traditional order. This disruption of gender roles is also presented through Lady Macbeth's usurpation of the dominate role in the Macbeth's marriage; on many occasions, she rules her husband and dictates his actions.

Reason Versus Passion

During their debates over which course of action to take, Macbeth and Lady Macbeth use different persuasive strategies. Their differences can easily be seen as part of a thematic study of gender roles. However, in truth, the difference in ways Macbeth and Lady Macbeth rationalize their actions is essential to understanding the subtle nuances of the play as a whole.

Macbeth is very rational, contemplating the consequences and implications of his actions. He recognizes the political, ethical, and religious reason why he should not commit regicide. In addition to jeopardizing his afterlife, Macbeth notes that regicide is a violation of Duncan's "double trust" that stems from Macbeth's bonds as a kinsman and as a subject.

On the other hand, Lady Macbeth has a more passionate way of examining the pros and cons of killing Duncan. She is motivated by her feelings and uses emotional arguments to persuade her husband to commit the evil act.

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Home › Drama Criticism › Analysis of William Shakespeare’s Macbeth

Analysis of William Shakespeare’s Macbeth

By NASRULLAH MAMBROL on July 25, 2020 • ( 0 )

Macbeth . . . is done upon a stronger and more systematic principle of contrast than any other of Shakespeare’s plays. It moves upon the verge of an abyss, and is a constant struggle between life and death. The action is desperate and the reaction is dreadful. It is a huddling together of fierce extremes, a war of opposite natures which of them shall destroy the other. There is nothing but what has a violent end or violent beginnings. The lights and shades are laid on with a determined hand; the transitions from triumph to despair, from the height of terror to the repose of death, are sudden and startling; every passion brings in its fellow-contrary, and the thoughts pitch and jostle against each other as in the dark. The whole play is an unruly chaos of strange and forbidden things, where the ground rocks under our feet. Shakespear’s genius here took its full swing, and trod upon the farthest bounds of nature and passion.

—William Hazlitt, Characters of Shakespeare’s Plays

Macbeth completes William Shakespeare’s great tragic quartet while expanding, echoing, and altering key elements of Hamlet, Othello, and King Lear into one of the most terrifying stage experiences. Like Hamlet, Macbeth treats the  consequences  of  regicide,  but  from  the  perspective  of  the  usurpers,  not  the  dispossessed.  Like  Othello,  Macbeth   centers  its  intrigue  on  the  intimate  relations  of  husband  and  wife.  Like  Lear,  Macbeth   explores  female  villainy,  creating in Lady Macbeth one of Shakespeare’s most complex, powerful, and frightening woman characters. Different from Hamlet and Othello, in which the tragic action is reserved for their climaxes and an emphasis on cause over effect, Macbeth, like Lear, locates the tragic tipping point at the play’s outset to concentrate on inexorable consequences. Like Othello, Macbeth, Shakespeare’s shortest tragedy, achieves an almost unbearable intensity by eliminating subplots, inessential characters, and tonal shifts to focus almost exclusively on the crime’s devastating impact on husband and wife.

What is singular about Macbeth, compared to the other three great Shakespearean tragedies, is its villain-hero. If Hamlet mainly executes rather than murders,  if  Othello  is  “more  sinned  against  than  sinning,”  and  if  Lear  is  “a  very foolish fond old man” buffeted by surrounding evil, Macbeth knowingly chooses  evil  and  becomes  the  bloodiest  and  most  dehumanized  of  Shakespeare’s tragic protagonists. Macbeth treats coldblooded, premeditated murder from the killer’s perspective, anticipating the psychological dissection and guilt-ridden expressionism that Feodor Dostoevsky will employ in Crime and Punishment . Critic Harold Bloom groups the protagonist as “the culminating figure  in  the  sequence  of  what  might  be  called  Shakespeare’s  Grand  Negations: Richard III, Iago, Edmund, Macbeth.” With Macbeth, however, Shakespeare takes us further inside a villain’s mind and imagination, while daringly engaging  our  sympathy  and  identification  with  a  murderer.  “The  problem  Shakespeare  gave  himself  in  Macbeth  was  a  tremendous  one,”  Critic  Wayne  C. Booth has stated.

Take a good man, a noble man, a man admired by all who know him—and  destroy  him,  not  only  physically  and  emotionally,  as  the  Greeks  destroyed their heroes, but also morally and intellectually. As if this were not difficult enough as a dramatic hurdle, while transforming him into one of the most despicable mortals conceivable, maintain him as a tragic hero—that is, keep him so sympathetic that, when he comes to his death, the audience will pity rather than detest him and will be relieved to see him out of his misery rather than pleased to see him destroyed.

Unlike Richard III, Iago, or Edmund, Macbeth is less a virtuoso of villainy or an amoral nihilist than a man with a conscience who succumbs to evil and obliterates the humanity that he is compelled to suppress. Macbeth is Shakespeare’s  greatest  psychological  portrait  of  self-destruction  and  the  human  capacity for evil seen from inside with an intimacy that horrifies because of our forced identification with Macbeth.

Although  there  is  no  certainty  in  dating  the  composition  or  the  first performance  of  Macbeth,   allusions  in  the  play  to  contemporary  events  fix the  likely  date  of  both  as  1606,  shortly  after  the  completion  and  debut  of  King Lear. Scholars have suggested that Macbeth was acted before James I at Hampton  Court  on  August  7,  1606,  during  the  royal  visit  of  King  Christian IV of Denmark and that it may have been especially written for a royal performance. Its subject, as well as its version of Scottish history, suggest an effort both to flatter and to avoid offending the Scottish king James. Macbeth is a chronicle play in which Shakespeare took his major plot elements from Raphael  Holinshed’s  Chronicles  of  England,  Scotland  and  Ireland  (1587),  but  with  significant  modifications.  The  usurping  Macbeth’s  decade-long  (and  largely  successful)  reign  is  abbreviated  with  an  emphasis  on  the  internal  and external destruction caused by Macbeth’s seizing the throne and trying to hold onto it. For the details of King Duncan’s death, Shakespeare used Holinshed’s  account  of  the  murder  of  an  earlier  king  Duff  by  Donwald,  who cast suspicion on drunken servants and whose ambitious wife played a significant role in the crime. Shakespeare also eliminated Banquo as the historical Macbeth’s co-conspirator in the murder to promote Banquo’s innocence and nobility in originating a kingly line from which James traced his legitimacy. Additional prominence is also given to the Weird Sisters, whom Holinshed only mentions in their initial meeting of Macbeth on the heath. The prophetic warning “beware Macduff” is attributed to “certain wizards in whose words Macbeth put great confidence.” The importance of the witches and  the  occult  in  Macbeth   must  have  been  meant  to  appeal  to  a  king  who  produced a treatise, Daemonologie (1597), on witch-craft.

The uncanny sets the tone of moral ambiguity from the play’s outset as the three witches gather to encounter Macbeth “When the battle’s lost and won” in an inverted world in which “Fair is foul, and foul is fair.” Nothing in the play will be what it seems, and the tragedy results from the confusion and  conflict  between  the  fair—honor,  nobility,  duty—and  the  foul—rank  ambition and bloody murder. Throughout the play nature reflects the disorder and violence of the action. Opening with thunder and lightning, the drama is set in a Scotland contending with the rebellion of the thane (feudal lord) of Cawdor, whom the fearless and courageous Macbeth has vanquished on the battlefield. The play, therefore, initially establishes Macbeth as a dutiful and trusted vassal of the king, Duncan of Scotland, deserving to be rewarded with the rebel’s title for restoring peace and order in the realm. “What he hath lost,” Duncan declares, “noble Macbeth hath won.” News of this honor reaches Macbeth through the witches, who greet him both as the thane of Cawdor and “king hereafter” and his comrade-in-arms Banquo as one who “shalt get kings, though thou be none.” Like the ghost in Hamlet , the  Weird  Sisters  are  left  purposefully  ambiguous  and  problematic.  Are  they  agents  of  fate  that  determine  Macbeth’s  doom,  predicting  and  even  dictating  the  inevitable,  or  do  they  merely  signal  a  latency  in  Macbeth’s  ambitious character?

When he is greeted by the king’s emissaries as thane of Cawdor, Macbeth begins to wonder if the first predictions of the witches came true and what will come of the second of “king hereafter”:

This supernatural soliciting Cannot be ill, cannot be good. If ill, Why hath it given me earnest of success Commencing in a truth? I am Thane of Cawdor. If good, why do I yield to that suggestion Whose horrid image doth unfix my hair And make my seated heart knock at my ribs, Against the use of nature? Present fears Are less than horrible imaginings: My thought, whose murder yet is but fantastical, Shakes so my single state of man that function Is smother’d in surmise, and nothing is But what is not.

Macbeth  will  be  defined  by  his  “horrible  imaginings,”  by  his  considerable  intellectual and imaginative capacity both to understand what he knows to be true and right and his opposed desires and their frightful consequences. Only Hamlet has as fully a developed interior life and dramatized mental processes as  Macbeth  in  Shakespeare’s  plays.  Macbeth’s  ambition  is  initially  checked  by his conscience and by his fear of the unforeseen consequence of violating moral  laws.  Shakespeare  brilliantly  dramatizes  Macbeth’s  mental  conflict in near stream of consciousness, associational fashion:

If it were done when ’tis done, then ’twere well It were done quickly. If th’assassination Could trammel up the consequence, and catch With his surcease, success: that but this blow Might be the be all and the end all, here, But here, upon this bank and shoal of time, We’d jump the life to come. But in these cases We still have judgement here, that we but teach Bloody instructions which, being taught, return To plague th’inventor. This even-handed justice Commends th’ingredients of our poison’d chalice To our own lips. He’s here in double trust: First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Not bear the knife myself. Besides, this Duncan Hath borne his faculties so meek, hath been So clear in his great office, that his virtues Will plead like angels trumpet-tongued against The deep damnation of his taking-off, And pity, like a naked new-born babe, Striding the blast, or heaven’s cherubin, horsed Upon the sightless couriers of the air, Shall blow the horrid deed in every eye That tears shall drown the wind. I have no spur To prick the sides of my intent, but only Vaulting ambition which o’erleaps itself And falls on the other.

Macbeth’s “spur” comes in the form of Lady Macbeth, who plays on her husband’s selfimage of courage and virility to commit to the murder. She also reveals her own shocking cancellation of gender imperatives in shaming her husband into action, in one of the most shocking passages of the play:

. . . I have given suck, and know How tender ’tis to love the babe that milks me. I would, while it was smiling in my face, Have plucked my nipple from his boneless gums And dashed the brains out, had I so sworn As you have done to this.

Horrified  at  his  wife’s  resolve  and  cold-blooded  calculation  in  devising  the  plot,  Macbeth  urges  his  wife  to  “Bring  forth  menchildren  only,  /  For  thy  undaunted mettle should compose / Nothing but males,” but commits “Each corporal agent to this terrible feat.”

With the decision to kill the king taken, the play accelerates unrelentingly through a succession of powerful scenes: Duncan’s and Banquo’s murders, the banquet scene in which Banquo’s ghost appears, Lady Macbeth’s sleepwalking, and Macbeth’s final battle with Macduff, Thane of Fife. Duncan’s offstage murder  contrasts  Macbeth’s  “horrible  imaginings”  concerning  the  implications and Lady Macbeth’s chilling practicality. Macbeth’s question, “Will all great Neptune’s ocean wash this blood / Clean from my hand?” is answered by his wife: “A little water clears us of this deed; / How easy is it then!” The knocking at the door of the castle, ominously signaling the revelation of the crime, prompts the play’s one comic respite in the Porter’s drunken foolery that he is at the door of “Hell’s Gate” controlling the entrance of the damned. With the fl ight of Duncan’s sons, who fear for their lives, causing them to be suspected as murderers, Macbeth is named king, and the play’s focus shifts to Macbeth’s keeping and consolidating the power he has seized. Having gained what the witches prophesied, Macbeth next tries to prevent their prediction that Banquo’s descendants will reign by setting assassins to kill Banquo and his son, Fleance. The plan goes awry, and Fleance escapes, leaving Macbeth again at the mercy of the witches’ prophecy. His psychic breakdown is dramatized by his seeing Banquo’s ghost occupying Macbeth’s place at the banquet. Pushed to  the  edge  of  mental  collapse,  Macbeth  steels  himself  to  meet  the  witches  again to learn what is in store for him: “Iam in blood,” he declares, “Stepp’d in so far that, should Iwade no more, / Returning were as tedious as go o’er.”

The witches reassure him that “none of woman born / Shall harm Macbeth” and that he will never be vanquished until “Great Birnam wood to high Dunsinane hill / Shall come against him.” Confident that he is invulnerable, Macbeth  responds  to  the  rebellion  mounted  by  Duncan’s  son  Malcolm  and  Macduff, who has joined him in England, by ordering the slaughter of Lady Macduff and her children. Macbeth has progressed from a murderer in fulfillment of the witches predictions to a murderer (of Banquo) in order to subvert their predictions and then to pointless butchery that serves no other purpose than as an exercise in willful destruction. Ironically, Macbeth, whom his wife feared  was  “too  full  o’  the  milk  of  human  kindness  /  To  catch  the  nearest  way” to serve his ambition, displays the same cold calculation that frightened him  about  his  wife,  while  Lady  Macbeth  succumbs  psychically  to  her  own  “horrible  imaginings.”  Lady  Macbeth  relives  the  murder  as  she  sleepwalks,  Shakespeare’s version of the workings of the unconscious. The blood in her tormented  conscience  that  formerly  could  be  removed  with  a  little  water  is  now a permanent noxious stain in which “All the perfumes of Arabia will not sweeten.” Women’s cries announcing her offstage death are greeted by Macbeth with detached indifference:

I have almost forgot the taste of fears: The time has been, my senses would have cool’d To hear a nightshriek, and my fell of hair Would at a dismal treatise rouse and stir As life were in’t. Ihave supp’d full with horrors; Direness, familiar to my slaughterous thoughts, Cannot once start me.

Macbeth reveals himself here as an emotional and moral void. Confirmation that “The Queen, my lord, is dead” prompts only the bitter comment, “She should have died hereafter.” For Macbeth, life has lost all meaning, refl ected in the bleakest lines Shakespeare ever composed:

Tomorrow, and tomorrow, and tomorrow Creeps in this petty pace from day to day To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.

Time and the world that Macbeth had sought to rule are revealed to him as empty and futile, embodied in a metaphor from the theater with life as a histrionic, talentless actor in a tedious, pointless play.

Macbeth’s final testing comes when Malcolm orders his troops to camoufl  age  their  movement  by  carrying  boughs  from  Birnam  Woods  in  their march toward Dunsinane and from Macduff, whom he faces in combat and reveals that he was “from his mother’s womb / Untimely ripp’d,” that is, born by cesarean section and therefore not “of woman born.” This revelation, the final fulfillment of the witches’ prophecies, causes Macbeth to fl ee, but he is prompted  by  Macduff’s  taunt  of  cowardice  and  order  to  surrender  to  meet  Macduff’s challenge, despite knowing the deadly outcome:

Yet I will try the last. Before my body I throw my warlike shield. Lay on, Macduff, And damn’d be him that first cries, “Hold, enough!”

Macbeth  returns  to  the  world  of  combat  where  his  initial  distinctions  were  honorably earned and tragically lost.

The play concludes with order restored to Scotland, as Macduff presents Macbeth’s severed head to Malcolm, who is hailed as king. Malcolm may assert his control and diminish Macbeth and Lady Macbeth as “this dead butcher and his fiendlike queen,” but the audience knows more than that. We know what  Malcolm  does  not,  that  it  will  not  be  his  royal  line  but  Banquo’s  that  will eventually rule Scotland, and inevitably another round of rebellion and murder is to come. We also know in horrifying human terms the making of a butcher and a fiend who refuse to be so easily dismissed as aberrations.

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A Modern Perspective: Macbeth

By Susan Snyder

Coleridge pronounced Macbeth to be “wholly tragic.” Rejecting the drunken Porter of Act 2, scene 3 as “an interpolation of the actors,” and perceiving no wordplay in the rest of the text (he was wrong on both counts), he declared that the play had no comic admixture at all. More acutely, though still in support of this sense of the play as unadulterated tragedy, he noted the absence in Macbeth of a process characteristic of other Shakespearean tragedies, the “reasonings of equivocal morality.” 1

Indeed, as Macbeth ponders his decisive tragic act of killing the king, he is not deceived about its moral nature. To kill anyone to whom he is tied by obligations of social and political loyalty as well as kinship is, he knows, deeply wrong:

         He’s here in double trust:

First, as I am his kinsman and his subject,

Strong both against the deed; then, as his host,

Who should against his murderer shut the door,

Not bear the knife myself.                  ( 1.7.12 –16)

And to kill Duncan, who has been “so clear in his great office” (that is, so free from corruption as a ruler), is to compound the iniquity. In adapting the story of Macbeth from Holinshed’s Chronicles of Scotland, Shakespeare created a stark black-white moral opposition by omitting from his story Duncan’s weakness as a monarch while retaining his gentle, virtuous nature. Unlike his prototype in Holinshed’s history, Macbeth kills not an ineffective leader but a saint whose benevolent presence blesses Scotland. In the same vein of polarized morality, Shakespeare departs from the Holinshed account in which Macbeth is joined in regicide by Banquo and others; instead, he has Macbeth act alone against Duncan. While it might be good politics to distance Banquo from guilt (he was an ancestor of James I, the current king of England and patron of Shakespeare’s acting company), excluding the other thanes as well suggests that the playwright had decided to focus on private, purely moral issues uncomplicated by the gray shades of political expediency.

Duncan has done nothing, then, to deserve violent death. Unlike such tragic heroes as Brutus and Othello, who are enmeshed in “equivocal morality,” Macbeth cannot justify his actions by the perceived misdeeds of his victim. “I have no spur,” he admits, “To prick the sides of my intent, but only / Vaulting ambition” ( 1.7.25 –27). This ambition is portrayed indirectly rather than directly. But it is surely no accident that the Weïrd Sisters accost him and crystallize his secret thoughts of the crown into objective possibility just when he has hit new heights of success captaining Duncan’s armies and defeating Duncan’s enemies. The element of displacement and substitution here—Macbeth leading the fight for Scotland while the titular leader waits behind the lines for the outcome—reinforces our sense that, whatever mysterious timetable the Sisters work by, this is the psychologically right moment to confront Macbeth with their predictions of greatness. Hailed as thane of Glamis, thane of Cawdor, and king, he is initially curious and disbelieving. Though his first fearful reaction ( 1.3.54 ) is left unexplained, for us to fill in as we will, surely one way to read his fear is that the word “king” touches a buried nerve of desire. When Ross and Angus immediately arrive to announce that Macbeth is now Cawdor as well as Glamis, the balance of skepticism tilts precipitously toward belief. The nerve vibrates intensely. Two-thirds of the prophecy is already accomplished. The remaining prediction, “king hereafter,” is suddenly isolated and highlighted; and because of the Sisters’ now proven powers of foreknowledge, it seems to call out for its parallel, inevitable fulfillment.

The Weïrd Sisters present nouns rather than verbs. They put titles on Macbeth without telling what actions he must carry out to attain those titles. It is Lady Macbeth who supplies the verbs. Understanding that her husband is torn between the now-articulated object of desire and the fearful deed that must achieve it (“wouldst not play false / And yet wouldst wrongly win,” 1.5.22 –23), she persuades him by harping relentlessly on manly action. That very gap between noun and verb, the desired prize and the doing necessary to win it, becomes a way of taunting him as a coward: “Art thou afeard / To be the same in thine own act and valor / As thou art in desire?” ( 1.7.43 –45). A man is one who closes this gap by strong action, by taking what he wants; whatever inhibits that action is unmanly fear. And a man is one who does what he has sworn to do, no matter what. We never see Macbeth vow to kill Duncan, but in Lady Macbeth’s mind just his broaching the subject has become a commitment. With graphic horror she fantasizes how she would tear her nursing baby from her breast and dash its brains out if she had sworn as she says her husband did. She would, that is, violate her deepest nature as a woman and sever violently the closest tie of kinship and dependence. Till now, Macbeth has resisted such violation, clinging to a more humane definition of “man” that accepts fidelity and obligation as necessary limits on his prowess. Now, in danger of being bested by his wife in this contest of fierce determinations, he accepts her simpler, more primitive equation of manhood with killing: he commits himself to destroying Duncan. It is significant for the lack of “equivocal morality” that even Lady Macbeth in this crucial scene of persuasion doesn’t try to manipulate or blur the polarized moral scheme. Adopting instead a warrior ethic apart from social morality, she presents the murder not as good but as heroic.

Moral clarity informs not only the decisions and actions of Macbeth but the stage of nature on which they are played out. The natural universe revealed in the play is essentially attuned to the good, so that it reacts to the unambiguously evil act of killing Duncan with disruptions that are equally easy to read. There are wild winds, an earthquake, “strange screams of death” ( 2.3.61 –69). And beyond such general upheaval there is a series of unnatural acts that distortedly mirror Macbeth’s. Duncan’s horses overthrow natural order and devour each other, like Macbeth turning on his king and cousin. “A falcon, tow’ring in her pride of place”—the monarch of birds at its highest pitch—is killed by a mousing owl, a lesser bird who ordinarily preys on insignificant creatures ( 2.4.15 –16). Most ominous of all, on the morning following the king’s death, is the absence of the sun: like the falcon a symbol of monarchy, but expanding that to suggest the source of all life. In a general sense, the sunless day shows the heavens “troubled with man’s act” ( 2.4.7 ), but the following grim metaphor points to a closer and more sinister connection: “dark night strangles the traveling lamp” ( 2.4.9 ). The daylight has been murdered like Duncan. Scotland’s moral darkness lasts till the end of Macbeth’s reign. The major scenes take place at night or in the atmosphere of the “black, and midnight hags” ( 4.1.48 ), and there is no mention of light or sunshine except in England ( 4.3.1 ).

Later in the play, nature finds equally fitting forms for its revenge against Macbeth. Despite his violations of the natural order, he nevertheless expects the laws of nature to work for him in the usual way. But the next victim, Banquo, though his murderer has left him “safe in a ditch” ( 3.4.28 ), refuses to stay safely still and out of sight. In Macbeth’s horrified response to this restless corpse, we may hear not only panic but outrage at the breakdown of the laws of motion:

                           The time has been

That, when the brains were out, the man would die,

And there an end. But now they rise again

With twenty mortal murders on their crowns

And push us from our stools. This is more strange

Than such a murder is.                           ( 3.4.94 –99)

His word choice is odd: “ they rise,” a plural where we would expect “he rises,” and the loaded word “crowns” for heads. Macbeth seems to be haunted by his last victim, King Duncan, as well as the present one. And by his outraged comparison at the end—the violent death and the ghostly appearance compete in strangeness—Macbeth suggests, without consciously intending to, that Banquo’s walking in death answers to, or even is caused by, the murder that cut him off so prematurely. The unnatural murder generates unnatural movement in the dead. Lady Macbeth, too, walks when she should be immobile in sleep, “a great perturbation in nature” ( 5.1.10 ).

It is through this same ironic trust in natural law that Macbeth draws strength from the Sisters’ later prophecy: if he is safe until Birnam Wood come to Dunsinane, he must be safe forever:

Who can impress the forest, bid the tree

Unfix his earthbound root? Sweet bodements, good!

Rebellious dead, rise never till the Wood

Of Birnam rise . . .                  ( 4.1.109 –12)

His security is ironic because for Macbeth, of all people, there can be no dependence on predictable natural processes. The “rebellious dead” have already unnaturally risen once; fixed trees can move against him as well. And so, in time, they do. Outraged nature keeps matching the Macbeths’ transgressions, undoing and expelling their perversities with its own.

In tragedies where right and wrong are rendered problematic, the dramatic focus is likely to be on the complications of choice. Macbeth, on the contrary, is preoccupied less with the protagonist’s initial choice of a relatively unambiguous wrong action than with the moral decline that follows. H. B. Charlton noted that one could see in Richard III as well as Macbeth the biblical axiom that “the wages of sin is death”; but where the history play assumes the principle, Macbeth demonstrates why it has to be that way. 2 The necessity is not so much theological as psychological: we watch in Macbeth the hardening and distortion that follows on self-violation. The need to suppress part of himself in order to kill Duncan becomes a refusal to acknowledge his deed (“I am afraid to think what I have done. / Look on ’t again I dare not”: 2.2.66 –67). His later murders are all done by proxy, in an attempt to create still more distance between the destruction he wills and full psychic awareness of his responsibility. At the same time, murder becomes a necessary activity, the verb now a compulsion almost without regard to the object: plotted after he has seen the Weïrd Sisters’ apparitions, Macbeth’s attack on Macduff’s “line” ( 4.1.174 ) is an insane double displacement, of fear of Macduff himself and fury at the vision of the line of kings fathered by Banquo.

Yet the moral universe of Macbeth is not as uncomplicated as some critics have imagined. To see in the play’s human and physical nature only a straightforward pattern of sin and punishment is to gloss over the questions it raises obliquely, the moral complexities and mysteries it opens up. The Weïrd Sisters, for example, remain undefined. Where do they come from? Where do they go when they disappear from the action in Act 4? What is their place in a moral universe that ostensibly recoils against sin and punishes it? Are they human witches, or supernatural beings? Labeling them “evil” seems not so much incorrect as inadequate. Do they cause men to commit crimes, or do they only present the possibility to them? Macbeth responds to his prophecy by killing his king, but Banquo after hearing the one directed at him is not impelled to act at all. Do we take this difference as demonstrating that the Sisters have in themselves no power beyond suggestion? Or should we rather find it somewhat sinister later on when Banquo, ancestor of James I or not, sees reason in Macbeth’s success to look forward to his own—yet feels it necessary to conceal his hopes ( 3.1.1 –10)?

Even what we most take for granted becomes problematic when scrutinized. Does Macbeth really desire to be king? Lady Macbeth says he does, but what comes through in 1.5 and 1.7 is more her desire than his. Apart from one brief reference to ambition when he is ruling out other motives to kill Duncan, Macbeth himself is strangely silent about any longing for royal power and position. Instead of an obsession that fills his personal horizon, we find in Macbeth something of a motivational void. Why does he feel obligated, or compelled, to bring about an advance in station that the prophecy seems to render inevitable anyway? A. C. Bradley put his finger on this absence of positive desire when he observed that Macbeth commits his crime as if it were “an appalling duty.” 3

Recent lines of critical inquiry also call old certainties into question. Duncan’s saintly status would seem assured, yet sociological critics are disquieted by the way we are introduced to him, as he receives news of the battle in 1.2. On the one hand we hear reports of horrifying savagery in the fighting, savagery in which the loyal thanes participate as much as the rebels and invaders—more so, in fact, when Macbeth and Banquo are likened to the crucifiers of Christ (“or memorize another Golgotha,” 1.2.44 ). In response we see Duncan exulting not only in the victory but in the bloodshed, equating honor with wounds. It is not that he bears any particular guilt. Yet the mild paternal king is nevertheless implicated here in his society’s violent warrior ethic, its predicating of manly worth on prowess in killing. 4 But isn’t this just what we condemn in Lady Macbeth? Cultural analysis tends to blur the sharp demarcations, even between two such figures apparently totally opposed, and to draw them together as participants in and products of the same constellation of social values.

Lady Macbeth and Duncan meet in a more particular way, positioned as they are on the same side of Scotland’s basic division between warriors and those protected by warriors. The king is too old and fragile to fight; the lady is neither, but she is barred from battle by traditional gender conventions that assign her instead the functions of following her husband’s commands and nurturing her young. In fact, of course, Lady Macbeth’s actions and outlook thoroughly subvert this ideology, as she forcefully takes the lead in planning the murder and shames her husband into joining in by her willingness to slaughter her own nurseling. It is easy to call Lady Macbeth “evil,” but the label tends to close down analysis exactly where we ought to probe more deeply. Macbeth’s wife is restless in a social role that in spite of her formidable courage and energy offers no chance of independent action and heroic achievement. It is almost inevitable that she turn to achievement at second hand, through and for her husband. Standing perforce on the sidelines, like Duncan once again, she promotes and cheers the killing.

Other situations, too, may be more complex than at first they seem. Lady Macduff, unlike Lady Macbeth, accepts her womanly function of caring for her children and her nonwarrior status of being protected. But she is not protected. The ideology of gender seems just as destructive from the submissive side as from the rebellious, when Macduff deserts her in order to pursue his political cause against Macbeth in England and there is no husband to stand in the way of the murderers sent by Macbeth. The obedient wife dies, with her cherished son, just as the rebellious, murderous lady will die who consigned her own nursing baby to death. The moral universe of Macbeth has room for massive injustice. Traditional critics find Lady Macbeth “unnatural,” and even those who do not accept the equation of gender ideology with nature can agree with the condemnation in view of her determined suppression of all bonds of human sympathy. Clear enough. But we get more blurring and crossovers when Macduff’s wife calls him unnatural. In leaving his family defenseless in Macbeth’s dangerous Scotland, he too seems to discount human bonds. His own wife complains bitterly that “he wants the natural touch”; where even the tiny wren will fight for her young against the owl, his flight seems to signify fear rather than natural love ( 4.2.8 –16). Ross’s reply, “cruel are the times,” while it doesn’t console Lady Macduff and certainly doesn’t save her, strives to relocate the moral ambiguity of Macduff’s conduct in the situation created by Macbeth’s tyrannical rule. The very political crisis that pulls Macduff away from his family on public business puts his private life in jeopardy through the same act of desertion. But while acknowledging the peculiar tensions raised by a tyrant-king, we may also see in the Macduff family’s disaster a tragic version of a more familiar conflict: the contest between public and private commitments that can rack conventional marriages, with the wife confined to a private role while the husband is supposed to balance obligations in both spheres.

Malcolm is allied with Duncan by lineage and with Macduff by their shared role of redemptive champion in the final movement of the play. He, too, is not allowed to travel through the action unsullied. After a long absence from the scene following the murder of Duncan, he reappears in England to be sought by Macduff in the crusade against Macbeth. Malcolm is cautious and reserved, and when he does start speaking more freely, what we hear is an astonishing catalogue of self-accusations. He calls himself lustful, avaricious, guilty of every crime and totally lacking in kingly virtues:

                Nay, had I power, I should

Pour the sweet milk of concord into hell,

Uproar the universal peace, confound

All unity on earth.                  ( 4.3.113 –16)

Before people became so familiar with Shakespeare’s play, I suspect many audiences believed what Malcolm says of himself. Students on first reading still do. Why shouldn’t they? He has been absent from the stage for some time, and his only significant action in the early part of the play was to run away after his father’s murder. When this essentially unknown prince lists his vices in lengthy speeches of self-loathing, there is no indication—except an exaggeration easily ascribable to his youth—that he is not sincere. And if we do believe, we cannot help joining in Macduff’s distress. Malcolm, the last hope for redeeming Scotland from the tyrant, has let us down. Duncan’s son is more corrupt than Macbeth. He even sounds like Macbeth, whose own milk of human kindness ( 1.5.17 ) was curdled by his wife; who threatened to destroy the whole natural order, “though the treasure / Of nature’s germens tumble all together / Even till destruction sicken” ( 4.1.60 –63). In due course, Malcolm takes it all back; but his words once spoken cannot simply be canceled, erased as if they were on paper. We have already, on hearing them, mentally and emotionally processed the false “facts,” absorbed them experientially. Perhaps they continue to color indirectly our sense of the next king of Scotland.

Viewed through various lenses, then, the black and white of Macbeth may fade toward shades of gray. The play is an open system, offering some fixed markers with which to take one’s basic bearings but also, in closer scrutiny, offering provocative questions and moral ambiguities.

• “Notes for a Lecture on Macbeth ” [c. 1813], in Coleridge’s Writings on Shakespeare , ed. Terence Hawkes (New York: Capricorn, 1959), p. 188.
• H. B. Charlton, Shakespearian Tragedy (Cambridge: Cambridge University Press, 1948), p. 141.
• A. C. Bradley, Shakespearean Tragedy (London: Macmillan, 1904), p. 358.
• James L. Calderwood, If It Were Done: “Macbeth” and Tragic Action (Amherst: University of Massachusetts Press, 1986), pp. 77–89.

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Welcome to the LitCharts study guide on William Shakespeare's Macbeth . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Macbeth: Introduction

Macbeth: plot summary, macbeth: detailed summary & analysis, macbeth: themes, macbeth: quotes, macbeth: characters, macbeth: symbols, macbeth: literary devices, macbeth: quizzes, macbeth: theme wheel, brief biography of william shakespeare.

Historical Context of Macbeth

Other books related to macbeth.

• Full Title: The Tragedy of Macbeth
• When Written: 1606
• Where Written: England
• When Published: 1623
• Literary Period: The Renaissance (1500 - 1660)
• Genre: Tragic drama
• Setting: Scotland and, briefly, England during the eleventh century
• Climax: Some argue that the murder of Banquo is the play's climax, based on the logic that it is at this point that Macbeth reaches the height of his power and things begin to fall apart from there. However, it is probably more accurate to say that the climax of the play is Macbeth's fight with Macduff, as it is at this moment that the threads of the play come together, the secret behind the prophecy becomes evident, and Macbeth's doom is sealed.

Extra Credit for Macbeth

Shakespeare or Not? There are some who believe Shakespeare wasn't educated enough to write the plays attributed to him. The most common anti-Shakespeare theory is that Edward de Vere, the Earl of Oxford, wrote the plays and used Shakespeare as a front man because aristocrats were not supposed to write plays. Yet the evidence supporting Shakespeare's authorship far outweighs any evidence against. So until further notice, Shakespeare is still the most influential writer in the English language.

Macbeth William Shakespeare

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

Macbeth Material

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Macbeth Essays

A complex victim: banquo as a figure of loyalty and clarity anonymous 10th grade.

Throughout Macbeth, the character of Banquo is continually presented as a contrasting foil to the character of Macbeth himself, as a noble and perceptive ally of the Scottish royal line. His presence in the play is felt in contrast to Macbeth’s...

Macbeth's Ambition Petra Zadroga 10th Grade

Throughout all of Shakespeare's Macbeth, the protagonist, Macbeth, infected by prophecy, cruises a downward spiral into more and more vile and unjustifiable acts until he is slain by the loyal hero Macduff. Because of the frequent acts of malice...

The Effect of Violence on Ambition Anonymous 10th Grade

A seemingly innocent spark of aspiration can spiral into an ignited wildfire of vengeance. The play written by William Shakespeare, The Tragedy of Macbeth, is set in a kingdom in Scotland during the eleventh century; once peaceful and filled to...

Manly Manipulation: The Liability of Masculinity in Macbeth Josie Reynolds College

While history has us assume that the idea of masculinity is equated with strength, Lady Macbeth’s soliloquy in Shakespeare’s Macbeth epitomizes the play’s understanding of masculinity in relation to power. When Lady Macbeth commands the spirits, “...

‘Depictions of Witches in Early Modern Literature Pander to Gender Stereotypes’: An Analysis of The Witch of Edmonton and Macbeth Summer Jade Dolan College

Because of the belief in early modern England that women were more susceptible to sin than men,[1] any literary depiction of a witch – the epitome of a woman who has fallen to sin – is a manifestation of, and an example of pandering towards, this...

Serpentine Imagery in Shakespeare's Macbeth Sarah Downey

The snake has long been used as a symbol of sly subtlety. A serpent's presence has been characterized by cunning cynicism dating as far back as biblical times, when the snake persuaded Eve to eat the forbidden fruit of Eden's garden. Even the...

Macbeth's Evolution David Sauvage

In Shakespeare's Macbeth, Macbeth undergoes a profound and gradual evolution throughout the play. He regresses from a logical, compassionate, caring, and conscientious man, to an entirely apathetic, amoral paradigm of cynical numbness. Macbeth's...

Jumping the Life to Come Alex Hoffer

A central theme of William Shakespeare's Macbeth is the title character's willingness to accept his fate. Macbeth's attitude toward the prophecies of the witches varies depending on how much he likes the prediction. At first, he follows along with...

Deceptive Appearances in Macbeth Sonia Jain

There is truth to Duncan's line "There's no art to find the mind's construction in the face," for throughout Shakespeare's play Macbeth, both Macbeth and Lady Macbeth are not what they most often appear to be. Even Macbeth does not know the extent...

Unity in Shakespeare's Tragedies Chris Hadfield

Separating qualities common to one 'set' or 'type' of Shakespeare's plays which are not common to the plays as a whole is a difficult task: it would no doubt be possible to find evidence of any feature uniting 'the Tragedies' within any of...

Inevitability and the Nature of Shakespeare's Tragedies Chris Hadfield

In Greek tragedy, inevitability plays an important role, portraying the protagonists as pawns of the fates, whose roles in the tragedy are distributed arbitrarily and without justice. The outcomes of these roles are decided before the play even...

Sleep and Nature Shira Traison

In Shakespeare's, Macbeth, there seems to be an uncanny connection between the images of sleep and nature. The play refers to the results of nature being thwarted, and since sleep is the primarily natural function of every human being, its seems...

The Elizabethan Chain of Being in Shakespeare's Macbeth Julianna Castaneda

The collective minds of people in England during the time of Shakespeare struggled to explain the unexplainable; they struggled to understand randomness and human nature. They believed that from the beginning of time a certain cosmic order had...

Gender Transition in Macbeth Anonymous

Come you spirit,

That tend on mortal thoughts, unsex me here.

--Lady Macbeth

More so than any other Shakespearean play, Macbeth functions the most vividly as a psychoanalysis of the state of humanity's development of a sense of sexual self. Now, in a...

The Appearance of Fairness Michael Wainwright

Starting with the witches' assertion that âfair is foul, and foul is fair,â? it is clear that Macbeth is a play in which appearances will be deceiving and morality will be muddled. From the dialogue between King Duncan, Malcolm, and the wounded...

Macbeth's Moral Quandary Michael Wainwright

In Scene 2 of Act 2, Lady Macbethâs master plan to promote her husband to the throne finally comes to fruition. For the first time in the play, however, Lady Macbeth reveals some degree of weakness in her inability to actually murder Duncan with...

Mocking Time With Fairest Show: Tragic Macbeth Makes Time His Foe Christina Gulas

Time plays a crucial role in Shakespeare's tragedy Macbeth. Like all Shakespearian tragedies, the main character is necessarily at odds with time. By its very nature, a tragedy must end with the death of the hero. The hero, therefore, must bide...

Re-Creation and Immortal Fame: The Search for Eternal Life in Macbeth and Coriolanus Christina Gulas

In Shakespeare's time, having children was, arguably, even more important than it is today. In a society dominated by rules of inheritance and birthright, children were important, not only as the means of carrying on a name and genetic material,...

Ambiguity Leads the Way Jean-Francois Carrier

Dramatic tragedies are by definition plays that enact the struggle and downfall of their main character or characters. "The Tragedy of Macbeth", by William Shakespeare, is a perfect example of this; the entire play portrays the fatalistic...

Unholy Mothers: Mothers as Negative Characters in Richard III, Cymbeline, Hamlet, Macbeth and The Tempest Barret Buchholz

Unholy Mothers: Mothers as Negative Characters in Richard III, Cymbeline, Hamlet, Macbeth and The Tempest

by, Barret Buchholz

April 15, 2005

The mothers presented in Shakespeare's plays encompass a broad range of social positions, personalities,...

Responsibility for Tragedy in Othello and Macbeth Anonymous

The tragedy in both Othello and Macbeth is found not so much in the scattering of bodies covering the stage at the end of each play, but instead in the degeneration of the plays' respective protagonists. Men championed by Shakespeare at the...

Character Juxtaposition: The Twoness of Macbeth Anonymous

Character Juxtaposition: The Twoness of Macbeth

Shakespeare's Macbeth relays the tale of a Scottish general, at first presenting a seemingly brave and noble warrior. Macbeth is eventually prompted by ambition to seek the throne upon hearing a...

Madness in Hamlet and Macbeth Kelly Crossley

Hamlet and Macbeth are two of William Shakespeare's most famous plays. Each share not only fame, however, but format: Both feature main characters with tragic flaws that become their demise. In the cases of Hamlet and Macbeth, this flaw is...

An Analysis of Lady Macbeth's Gender Role throughout Macbeth Aline Tran

Shakespeare's Macbeth is a male dominated play. Most of the noticeable characters in Macbeth are male, including Macbeth, Macduff, Banquo, King Duncan, and Malcolm. Despite the lack of female power by numbers, Lady Macbeth proves to be a...

129 Macbeth Essay Topic Ideas & Examples

🏆 best macbeth topic ideas & essay examples, 👍 good essay topics on macbeth, 📌 most interesting macbeth topics to write about, 👍 good research topics about macbeth, ❓ macbeth essay questions.

Writing an essay on Shakespearean tragedies may be tricky for some students. There are a lot of ideas to put in your paper, and that may puzzle you. That’s why we’ve prepared a short guide on how to write Macbeth essay.

Macbeth is a tragedy by William Shakespeare based on the true story of Scottish king Macbeth. The play tells us about a Scottish general who heard a prophecy from a trio of witches and decided to bring predictions to fulfillment. This is a drama about the jeopardy of excessive lust for power and betrayal of friends.

Some researchers state that William Shakespeare adopted the plot from Holinshed’s Chronicles, a popular history of England, while others argue that the plot of the play was borrowed from George Buchanan. Before you start your Macbeth essay, you should do thorough research on facts and fiction around the play.

To give you ideas on how and what to write in your essay, check the tips below:

• Check our Macbeth essay samples to acquire knowledge on characters: Macbeth, Lady Macbeth, King Duncan, Banquo, Malcolm, Macduff, Three Witches, and others. Each character is unique, and it’s quite easy to write a paper on each of them. Make a meticulous analysis of each of them, if you decide to write an essay on Macbeth characters. Use dialogues and monologues as supporting arguments to your ideas.
• In your Macbeth essay introduction provide readers with the thesis statement and a summary you’re going to discuss in the paper. Specify what exactly you will depict or analyze. Sometimes, you may need to write the intro after you finish the body and already have done an in-depth analysis of text and critique materials.
• When writing body paragraphs, describe the essay topic in detail. Start each section with a short statement, provide a supporting quote, explain it, and make a conclusion. You can always analyze IvyPanda Macbeth essay titles to learn various points of view on each character and event.
• In the Macbeth essay conclusion, reiterate a topic and your analysis. You should not only summarize the information you’ve gathered and analyzed in the paper body. You have to get back to the intro and provide clear and extensive answers on the questions you raised. Try not to leave any further questions for your readers. Here’s the secret: some professors read the conclusion first. So make it persuasive and give a complete portion of information.

You may be wondering how to use essay examples that you may find on our website. It is super easy. First of all, look through the titles to get some topic ideas.

Then, look through the sample and learn how to create your outline. Think about what you can write in your essay. Check the bibliography: there you can find useful sources for the research.

Indeed, any paper on Shakespeare’s play may concern a variety of topics. So check out our Macbeth essay examples and think of the topics which you can choose.

• Betrayal in Shakespeare’s “Macbeth” The betrayer, Macbeth betrays the King, friend and other subjects in the kingdom. However when Macbeth is told he has just been chosen as the Thane of Cawdor, scenes of the possibilities of him as […]
• Dramatic Irony in Macbeth Essay Shakespeare uses dramatic irony to amuse the audience and to show the level of deception developed by the main character. The porter gives a clear picture of what is about to happen.
• The Use of Hands as a Motif in Shakespeare’s “Macbeth” The play presents readers with the world of royalty and the well-knit state; the world of Duncan, his two sons, Banquo, Macbeth and the whole of Scotland and England.
• William Shakespeare: Hamlet and Macbeth It is important to examine the role that the setting plays in Hamlet and Macbeth in relation to the tragic flaw and developments of the plot.
• Supernatural Elements of Act I and II in Macbeth In the play, the supernatural things are central to the plot of the play as they provide a basis for action as Shakespeare meant them to fit in putting the play together.
• Unchecked Ambition in Shakespeare’s “Macbeth” However, in Act 1, scenes 1 to 4, the audience is introduced to Macbeth’s increasing fear and the developing desire to be the king. It appears that the desire to be the king overrides his […]
• Concept of Power in Shakespeare’s “Macbeth” While The government is the system that makes laws and ensures that they are followed, it is the person who wields power who is responsible for the equality and impartiality of its enforcement.
• Macbeth & Frankenstein: Compare & Contrast In the being of the play, we assume that Macbeth is akin to the king, a loyal soldier, and a person “full of the milk of human kindness”.
• The Downfall of Macbeth Nonetheless, he goes on to murder the king and his character takes a turn for the worst as he kills the chamberlains who would give witness of the king’s death and he claims he killed […]
• Emotions and Outward Actions in Shakespeare’s “Macbeth” In this regard, in William Shakespeare’s Macbeth, the relationship of inward emotions and outward actions is relevant in fully conveying the interplay of themes in this tragedy.
• The “Macbeth” Film by Rupert Goold While Shakespeare’s play happened in the 11th century in Scotland, the movie’s design is more similar to the events of the 20th century. Corresponding to the era of the first half of the 20th century, […]
• British Literature: Beowulf vs. Macbeth They are as follows: the presentation of the heroes, the consideration of the ethical themes, and the final stages of the plays the latter help to draw some ethical conclusions based on the peculiarity of […]
• Comparison of the Opening Scene of Macbeth by Orson Welles and The Tragedy of Macbeth by Roman Polanski The opening scene of The Tragedy of Macbeth starts with the words “fair is foul and foul is fair” that Polanski takes from the end of the Shakespeare’s scene.
• “Macbeth” by William Shakespeare: Language and Tropes Typically, ‘the end of something means the onset of another.’ Using this as a viewpoint that provides a lead to what Macbeth is all about, the fact that ‘we will proceed no further in this […]
• Shakespeare Tragedies: Macbeth and King Lear At the beginning of the play, he decides to abdicate his throne and divide his kingdom among his three daughters. This choice eventually undermines the ethical integrity of this character, and he murders murder to […]
• Macbeth and Hamlet Characters Comparison The queens in Hamlet and Macbeth play a pivotal role in the life of the heroes of the play. She is portrayed as a mother who, in her awareness of Hamlet’s crisis, feels guilty and […]
• Literary Character Analysis of Shakespeare’s “Macbeth” The very reason that made me write about this character was how he is depicted as a hero in the opening pages of the play, and only to learn how weak he is from his […]
• Macbeth Versions Comparison Film Analysis The use of classic settings in the design of the play helps in portraying the role that gangsters play in the original play of Macbeth and helps present it in the modern world.
• Omens in The “Macbeth” Play by William Shakespeare The supernatural was an aspect of the plot structure used to add tension and drama to the occurrences and situations and manifested in various ways. To conclude, the owl and raven were utilized as omens […]
• The Play “Macbeth” by Shakespeare and the Film “Maqbool” by Bhardwaj Bhardwaj’s Maqbool is a great example of how the weather sets the tone for the story, it is not the backdrop in the film, but an active force expressing the psychological state of the characters.
• Philosophy of Literature: Shakespearean Tragedy In addition, it is also an indication of the facts that human beings are always nosy and ready to participate in other people’s issues.
• Analyzing the Adaptation of the Shakespeare’s “Macbeth” Furthermore, the names of all the characters in both films are the same except for a little twist in the spelling of names like Mcbeth and Mcduff.
• Representing the Heroic: Macbeth and Odysseus In Homer’s Odyssey, the noble nature of the hero is made clear in the way that his servants speak of him and strive to behave as he would expect.
• Shakespeare’s “Macbeth” and Sophocles’ “Oedipus” The idea of a person being in the center of the action and trying to overcome some problems connected with doom, fate and some other supernatural forces become peculiar to this kind of art.
• The Life and Work of William Shakespeare: His Contribution to the Contemporary Theater In addition, the plays and sonnets of William Shakespeare continue to set the standard for the study of the English language in its dramatic context in institutes of higher learning and performance training.
• Supernatural in “Macbeth” Play by Shakespeare The supernaturally manufactured predictions lure Macbeth and Banquo with the idea of power, leading Macbeth to plot the cruel murder of Duncan.
• Jeffrey R. Wilson: Macbeth and Criminology The genre of tragedy used in Macbeth poses the question to the reader: who is responsible for committing a crime – the individual or the society?
• Intro to Theatre: “Macbeth” Shakespeare’s theatrical performances are widespread all over the world and do not lose their relevance, both due to the problems raised by the playwright and the various interpretations of his works. One of such plays is the production of Macbeth directed by Bodinetz (2020) and created by the troupe of Digital Theater +. The performance […]
• The Story of Macbeth by W. Sheakspeare: Relationship and Strengths Between Macbeth and His Wife Lady Macbeth reads a letter her husband had written about the witches’ prophecy and manipulates him to kill King Duncan and take over the kingdom.
• Shakespeare and His View on Kingship: Macbeth, King Lear and Othello At the same time, it is beyond doubt in the basement Macbeth’s character is clean and as a soldier, he is true to his job and his king.
• Analysis of Characters in Shakespeare’s “Macbeth” The witches’ predictions spark Macbeth’s ambitions and then hearten his violent performance; Lady Macbeth offers the brains and the will behind her husband’s intrigues; and the only heavenly being to emerge is Hecate, the divinity […]
• Character Analysis of “Macbeth” by William Shakespeare The unplanned overnight stay of King Duncan and his entourage at Macbeth’s castle precipitates Macbeth’s first fateful decision: to murder King Duncan and clear the way for the witches’ prophecy to come true.
• Shakespeare’s Tragedy of Macbeth The world of Macbeth is a world of contradiction. Already a successful soldier in the army of King Duncan, Macbeth is informed by Three Witches that he is to become “Thane of Glamis!”, “Thane of […]
• Shakespearean Macbeth as a Tragic Hero In addition to fighting for his king, Macbeth is quickly and well rewarded for his efforts as King Duncan makes him the new Thane of Cawdor in addition to his already holding the title of […]
• Shakespear’s “Macbeth”: Main Character Change Analysis Macbeth is essentially the story of a character who lives his life in a state of confusion to the degree that the only constant in his life changes.
• Chaucer’s ‘Miller’s Tale’ and Shakespeare’s ‘Macbeth’ Chaucer’s The Miller’s Tale and in Shakespeare’s Macbeth, to be more exact, we will find out how the notion of poetic justice is represented by examples of the main characters of the works mentioned.
• An Explication on Shakespeare’s Macbeth However, Macbeth’s wife is murdered and the news is broken to him, and he is drifted into a life of futility and remorsefulness.
• Literary Elements in “Macbeth” Poem In addition, use of Symbolism imagery and symbolism creates a better picture in audience mind, concerning the themes that the play covers; such as where dark is used to represent evil.
• King Macbeth in Shakespeare’s Play and History He proved to be a courageous man and ambitious because he wanted to become the king, and the only way he could do it was by killing the king.
• Themes in the Tragedy of Macbeth by Shakespeare The character of Macbeth is used by Shakespeare to illustrate a man who lacks the strength of moral fiber under the affection of guilt and ambition.
• Characters’ Traits in Shakespeare’s Macbeth As weird as it might sound, Lady Macbeth is very emotional; as a matter of fact, the crimes that she committed can be attributed to her emotionality rather than her greed, though the latter has […]
• Macbeth: An Analysis of the Play by Shakespeare Macbeth’s treachery springs from his reliance to the witches who gave him prophecy that results in his endless creation of enemies.
• Oedipus King vs. Macbeth: Drama Comparison The concept reflects the foundation of the decent authority through showing the tendencies of power both in the ancient times and in the period of Renaissance.
• Drama Macbeth: Shakespeare’s Play and Wells’ Film However, the play communicates the meaning of the text in a better way as compared to the film by Orson Wells.
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• Shakespeare Literature: Prophecy and Macbeth Morality The divination made by the witches pushes Macbeth further into immorality as he is made to believe that he deserves the position of king. In addition, Macbeth abandons reason and morality so as to make […]
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• Chicago (A-D)
• Chicago (N-B)

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Macbeth as a Strong Man

The essay below uses this simple structure:, an introductory paragraph to summarise an answer to the question, one paragraph about the extract, one about the rest of the play, one about context., doubtful it stood;, as two spent swimmers, that do cling together, and choke their art. the merciless macdonwald–, worthy to be a rebel, for to that, the multiplying villanies of nature, do swarm upon him–from the western isles, of kerns and gallowglasses is supplied;, and fortune, on his damned quarrel smiling,, show’d like a rebel’s whore: but all’s too weak:, for brave macbeth–well he deserves that name–, disdaining fortune, with his brandish’d steel,, which smoked with bloody execution,, like valour’s minion carved out his passage, till he faced the slave;, which ne’er shook hands, nor bade farewell to him,, till he unseam’d him from the nave to the chaps,, and fix’d his head upon our battlements., o valiant cousin worthy gentleman, question: how far does shakespeare present macbeth as a strong man, write about:, how shakespeare presents macbeth in this speech, how shakespeare presents macbeth in the play as a whole., the essay below is written using a simple structure:, an introductory paragraph to summarise an answer to the question., a section about the extract., a section the rest of the play., a paragraph about context., before you read the answer below, why not have a think about how you'd answer this question. which quotes would you use from the speech above also, which sections from the rest of the play would you focus on and what contextual factors influenced lady macbeth's presentation, most importantly, though, have a think about how you'd write that opening paragraph - answer the question in two or three simple sentences., an example answer, during the opening of the play macbeth is presented as a perfect jacobean hero: strong, brave and heroic. however, he is incapable of standing up to his wife or of resisting the witches' magic spell and this leads to his downfall., in this extract, a wounded sergeant explains macbeth’s achievements while fighting a battle against norwegian traitors. he is called “brave macbeth – well he deserves that name.” the fact that he deserves that “name” suggests that the adjective “brave” is almost a title for him, and bravery would have been central the jacobean understanding of what made a strong man. macbeth goes on to “disdain fortune” – suggesting that he doesn’t care what fortune has in store for him, and he “carves his own passage.” the idea that he has enough inner strength to ignore fate or fortune and make a name for himself confirms that macbeth has a lot of what a strong jacobean male would need., but he is also brutal, and physically strong – two more traits that would be valued in any strong jacobean male. he approaches the “merciless macdonwald” whose “multiplying villainies” the sergeant has already explained, and “unseemed him from the nave to the chaps” before fixing his head upon “our battlements.” this level of brutality would spread fear in his enemies and show that macbeth was strong enough not to be messed with. also, the captain is careful to describe the enemy as “merciless” an adjective that makes sure that the audience is clear that macbeth is killing evil men., the sergeant continues to emphasise how macbeth’s brutality should earn him respect by saying that his sword “smoked with bloody execution.” the verb “execution” is interesting, as an execution is the killing of a criminal or someone else who deserves to die. in this respect, macbeth is not just a bloody murderer, but a noble and respectable servant of the king. his relationship to the king, who provides a source of social strength, is finally confirmed when king duncan calls him “valiant cousin” and “worthy gentleman” this statement shows that macbeth is related to the king – a really important source of strength – and is a “gentleman” – a noun which suggests that he is civilised as well., his reputation for strength, however, was not to last because he is largely bullied by the women in the play. in fact, his opening line in the play – “so fair and foul a day i have not seen” – suggests that he is under the witches influence right from the off. also, later, lady macbeth easi ly talks him into murdering duncan, saying that he is "too full of the milk of human kindness." even saying that macbeth is too full of milk was an insult as milk is feminine and this would have upset any ideas that he was a strong man., also, killing duncan sets macbeth off on a spree of murder. during the play, he kills his best friend, banquo, which would have been seen as shocking to a jacobean male audience, as loyalty to friends was very important. he also kills macduff's wife and child, both of which would have been seen as incredibly dishonourable and weak. in doing so, however, he turns everyone against him and he is eventually killed in battle., ultimately, macbeth is not presented as a strong man to the jacobean audience as, although he is brave in battle, he lacks the strength to stand up to his wife and is bullied – by a woman – into doing something he didn’t want to do. ironically, she does this by challenging his masculinity . the audience would have been very clear that lady macbeth was taunting him, but macbeth doesn't see this and ends up getting drawn into betraying his friends and the codes of jacobean masculinity..

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The play examines the corrupting power of ambition. Whose ambition functions as the driving force of the narrative , Macbeth or Lady Macbeth? Why?

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The weather is an ever-present force in Macbeth. How does the weather reflect the emotional state of the characters? Of the trajectory of the play?

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Macbeth – A* / L9 Full Mark Example Essay

This is an A* / L9 full mark example essay on Macbeth completed by a 15-year-old student in timed conditions (50 mins writing, 10 mins planning).

It contained a few minor spelling and grammatical errors – but the quality of analysis overall was very high so this didn’t affect the grade. It is extremely good on form and structure, and perhaps could do with more language analysis of poetic and grammatical devices; as the quality of thought and interpretation is so high this again did not impede the overall mark. 

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MACBETH EXAMPLE ESSAY:

Macbeth’s ambition for status and power grows throughout the play. Shakespeare uses Macbeth as an embodiment of greed and asks the audience to question their own actions through the use of his wrongful deeds.

In the extract, Macbeth is demonstrated to possess some ambition but with overriding morals, when writing to his wife about the prophecies, Lady Macbeth uses metaphors to describe his kind hearted nature: “yet I do fear thy nature, / It is too full o’th’milk of human kindness”. Here, Shakespeare presents Macbeth as a more gentle natured being who is loyal to his king and country. However, the very act of writing the letter demonstrates his inklings of desire, and ambition to take the throne. Perhaps, Shakespeare is aiming to ask the audience about their own thoughts, and whether they would be willing to commit heinous deeds for power and control. 

Furthermore, the extract presents Macbeth’s indecisive tone when thinking of the murder – he doesn’t want to kill Duncan but knows it’s the only way to the throne. Lady Macbeth says she might need to interfere in order to persuade him; his ambition isn’t strong enough yet: “That I may pour my spirits in  thine ear / And chastise with the valour of my tongue”. Here, Shakespeare portrays Lady Macbeth as a manipulative character, conveying she will seduce him in order to “sway “ his mind into killing Duncan. The very need for her persuasion insinuates Macbeth is still weighing up the consequences in his head, his ambition equal with his morality. It would be shocking for the audience to see a female character act in this authoritative way. Lady Macbeth not only holds control of her husband in a patriarchal society but the stage too, speaking in iambic pentameter to portray her status: “To catch the nearest way. Thou wouldst be great”. It is interesting that Shakespeare uses Lady Macbeth in this way; she has more ambition for power than her husband at this part of play. 

As the play progresses, in Act 3, Macbeth’s ambition has grown and now kills with ease. He sends three murders to kill Banquo and his son, Fleance, as the witches predicted that he may have heirs to the throne which could end his reign. Macbeth is suspicious in this act, hiding his true intentions from his dearest companion and his wife: “I wish your horses swift and sure on foot” and “and make our faces vizards to our hearts”. There, we see, as an audience, Macbeth’s longing to remain King much stronger than his initial attitudes towards the throne He was toying with the idea of killing for the throne and now he is killing those that could interfere with his rule without a second thought. It is interesting that Shakespeare presents him this way, as though he is ignoring his morals or that they have been “numbed” by his ambition. Similarly to his wife in the first act, Macbeth also speaks in pentameter to illustrate his increase in power and dominance. 

In Act 4, his ambition and dependence on power has grown even more. When speaking with the witches about the three apparitions, he uses imperatives to portray his newly adopted controlling nature: “I conjure you” and “answer me”. Here, the use of his aggressive demanding demonstrates his reliance on the throne and his need for security. By the Witches showing him the apparitions and predicting his future, he gains a sense of superiority, believing he is safe and protected from everything. Shakespeare also lengthens Macbeth’s speech in front of the Witches in comparison to Act 1 to show his power and ambition has given him confidence, confidence to speak up to the “filthy nags” and expresses his desires. Although it would be easy to infer Macbeth’s greed and ambition has grown from his power-hungry nature, a more compassionate reading of Macbeth demonstrates the pressure he feels as a Jacobean man and soldier. Perhaps he feels he has to constantly strive for more to impress those around him or instead he may want to be king to feel more worthy and possibly less insecure. 

It would be unusual to see a Jacobean citizen approaching an “embodiment” of the supernatural as forming alliance with them was forbidden and frowned upon. Perhaps Shakespeare uses Macbeth to defy these stereotypical views to show that there is a supernatural, a more dark side in us all and it is up to our own decisions whereas we act on these impulses to do what is morally incorrect. 

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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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The Essential Joan Didion

Her distinctive prose and sharp eye were tuned to an outsider’s frequency, telling us about ourselves in essays that are almost reflexively skeptical. Here’s where to start.

Credit... John Bryson/Getty Images

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By Alissa Wilkinson

Alissa Wilkinson is a movie critic at The Times. Her book “We Tell Ourselves Stories: Joan Didion and the American Dream Machine” will be published by Liveright next year.

• Published April 26, 2024 Updated April 28, 2024

The Joan Didion many people know is constructed from a few artifacts the real writer left behind when she died in 2021 . There’s her much-imitated (and sometimes parodied) 1967 essay “Goodbye to All That,” about leaving New York. There’s the packing list enumerated in her essay “The White Album,” written between 1968 and 1978, which is sometimes cited as aspirational , even instructional . There are the iconic photographs of Didion taken by Julian Wasser in 1968, commissioned for a profile in Time — particularly one in which she’s smoking while leaning against her Stingray, cooler than anyone has ever been, a vibe echoed in the 2003 ad Didion shot for the fashion brand Celine . And, of course, there’s her most famous line — “We tell ourselves stories in order to live” — which opens “The White Album” and is frequently invoked, wrongly, for inspiration.

Didion was not really out to inspire us. She was looking at us and telling us what she saw, including our compulsion to weave myths for survival. Her distinctive prose and sharp eye were always tuned to an outsider’s frequency, even when she was actually an insider (as with most of her writing on Hollywood). Her essays are almost reflexively skeptical; she wrote with authority borne not so much from experience as from a refusal to give in to dogma.

And her work, which spanned well over a half-century, reads like an account of a country careering toward a cliff. Didion may be best known as the California writer who chronicled midcentury cultural decay, but her body of work is much wider and deeper. She wrote on Hollywood and Washington, New York and Sacramento, Terri Schiavo and Martha Stewart, grief and hypocrisy and Latin American politics, and somehow it all drove toward the same point: Narratives are coping mechanisms. If we want to truly understand ourselves, we have to understand not just the stories we make up together, but the tales behind them.

In the years since her death, Didion’s star has only risen, with a museum exhibit , revivals of her play , a buzzed-about estate sale and the New York Public Library’s forthcoming unveiling of her joint archive with her husband, the writer John Gregory Dunne, who died in 2003. In the meantime, the state of the world has felt ever more confusing, and the line between reality and make-believe more blurred. So there’s never been a better time to dip your toe — or plunge your whole self — into the work of one of the finest, most perceptive writers in American letters.

I want to start with the foundational text.

“Slouching Towards Bethlehem” (1968) was Didion’s second book — her first was the 1963 novel “Run River,” written in her 20s as a Vogue staffer in New York. But even though 13 books of nonfiction and four novels followed it, “Slouching,” published when she was 33, remains fundamental to Didion’s oeuvre, and helped establish her reputation as a practitioner of the New Journalism.

Like all of her collections, the book consists of essays written on assignment for a variety of outlets: The New York Times Magazine, The American Scholar, Holiday, Vogue and The Saturday Evening Post. Taken together, they start to convey a portrait of the cultural critic as a young woman, and especially her sense, nurtured from a very young age, that the world was coming apart at the seams.

The book’s title comes from one of its essays, about the decaying vibes in late ’60s Haight-Ashbury. That’s in turn plucked from a Yeats poem, quoted as an epigraph. In the preface she writes that the essay was reported and drafted in an attempt to beat a despairing writer’s block: “If I was to work again at all,” she writes, “it would be necessary for me to come to terms with disorder.”

Didion often spoke of writing as the way she figured out what she thought, which makes the title essay a must-read for understanding the author. But “Slouching Towards Bethlehem” is a jewel chest, and the shiniest gem inside it might be “Goodbye to All That,” Didion’s classic essay about falling in and out of love with New York City.

The often-quoted “On Self-Respect,” which also appears in this collection, has a funny origin story: Didion wrote it as a Vogue staffer because the editors had put the headline on the cover without assigning a writer, and she happened to be around.

Was there a sequel?

Not exactly. But “The White Album” (1979) is kind of a follow-up to “Slouching Towards Bethlehem,” though it also works all on its own. The book’s title essay is somewhat autobiographical, an account of Didion’s life in Los Angeles during the 1960s, when she and Dunne were raising their daughter, Quintana Roo, and spending a great deal of their time with movie stars and rockers. Written as a series of vignettes, the essay floats from Didion’s psychological trouble to her encounters with familiar figures — the Black Panthers, the Doors, the Manson family. There’s a sense in which the essay is responsible for the way many of us born later “remember” the late 1960s; you could spot its DNA, for instance, in certain seasons of “Mad Men,” or in Quentin Tarantino’s film “ Once Upon a Time … in Hollywood .”

On the whole, the essays in “The White Album” feel more descriptive of Didion’s life than earlier writings, but she expertly toed a fine line that made her readers (especially women) feel they knew her, even though she never really revealed a lot about herself in her writing. Other standouts in the collection include “The Women’s Movement,” which will give you a sense for Didion’s reluctance to call herself a feminist, and “Holy Water,” which becomes a personal history by way of California history.

I want to read Didion at her most vicious.

The cattiest (and thus maybe the funniest) essay Didion ever wrote was “Pretty Nancy,” a portrait of Nancy Reagan when she was the first lady of California. Didion, part of the fifth generation of a well-off Sacramento family, had absolutely no use for either Reagan from the moment the Gipper stepped into politics. For her, the Reagans became the prevailing metaphor for everything that was wrong with the American political scene, because she believed they thought, acted, campaigned and governed like Hollywood figures. “She has told me that the governor never wore makeup even in motion pictures, and that politics is rougher than the picture business because you do not have the studio to protect you,” Didion writes near the end of the profile, when the tone of irritated disdain is practically dripping off the page.

Despite inflicting a significant sting — Nancy Reagan mentions the essay in her own memoirs — “Pretty Nancy” wasn’t collected in any of Didion’s books until the final one, “Let Me Tell You What I Mean” (2021). It’s a perfect glimpse into a young, irritated writer who knew exactly what she was doing.

Did she ever get swoony?

Words like “unsparing” and “cleareyed” are usually applied to Didion’s cultural analysis, but if you want to see her in full weak-kneed mode, read the essay “John Wayne: A Love Story.” (It’s collected in “Slouching Towards Bethlehem.”) In 1965, she finally landed a pitch she’d been longing for: The Saturday Evening Post commissioned Didion to travel to northern Mexico, where “The Sons of Katie Elder” — a western she’d later brush off in a paragraph-long review in Vogue — was shooting. The star was John Wayne, whom Didion had worshiped since watching him in a converted aircraft hangar on the Army base where her father was stationed during World War II. He became her idea of manhood, safety, strength.

Wayne-like characters pop up across Didion’s fiction, as does her longing for the kind of security this line represented to her. But Wayne as an actual person was important to her, too. When she finally met her hero on set, he was just coming off a lung cancer scare; she mentions his “bad cold and a racking cough, so tired by late afternoon that he kept an oxygen inhalator on the set.” Famously, he’d used his diagnosis, and his tough-guy stature, to encourage people in the smoke-filled era to get screened for the disease.

John Wayne is key to Didion’s story for more than just entertainment reasons. Her political views, until well into adulthood, were sternly conservative, not as right wing as Wayne’s but nearly so — she used to announce at Hollywood dinner parties, seemingly for shock value, that she had voted for Barry Goldwater. She switched affiliations after the California Republican Party embraced Richard Nixon, but as late as the 1990s she was still saying she’d have voted for Goldwater in every election since, had he run.

Didion also ended up working in the movie industry, in one way or another, for her entire life, and it’s not hard to believe she was hooked on the business by her love of Wayne.

How much of a Hollywood insider was Didion, really?

Didion and Dunne considered themselves novelists first and journalists second, but they really paid their bills by writing and doctoring scripts. Their first produced movie was the 1971 addict drama “The Panic in Needle Park,” starring Al Pacino in his first leading role, and Kitty Winn, who won Best Actress at Cannes for the role. The pair wrote a number of scripts together, including “Play It as It Lays,” “A Star Is Born” (the Barbra Streisand one), “True Confessions,” “Up Close and Personal” and the HBO short film “Hills Like White Elephants.” If you really want a great overview of Hollywood through their eyes, you can’t do better than two of Dunne’s books: “The Studio” (1969), about life on the back lot at 20th Century Fox, and “Monster” (1997), about the travails they experienced getting “Up Close and Personal” made.

But Didion wrote about Hollywood, too. One of her most astute essays, “Hollywood: Having Fun,” was first published in The New York Review of Books in 1973, then lightly revised and published as “In Hollywood” in “The White Album.”

“Hollywood: Having Fun” is a careening tour through the wheeling and dealing of the movie business, and also a way for Didion to take out-of-touch East Coast movie critics to task. (She specifically names Pauline Kael of The New Yorker, with whom Didion had briefly shared a movie review column at Vogue. By 1973, Kael was arguably the most powerful movie critic in America; Didion airily suggests she’s full of hogwash.) Didion believes that “much of what is written about pictures and about picture people approaches reality only occasionally and accidentally,” because if you don’t experience Hollywood directly then you can’t possibly understand how the sausage gets made and, thus, understand what you’re really seeing up on the screen.

What’s clear is that, having worked as a movie critic herself for a while, she’s not particularly interested in critics’ thoughts anymore, which leads to this brilliant line: “Making judgments on films is in many ways so peculiarly vaporous an occupation that the only question is why, beyond the obvious opportunities for a few lecture fees and a little careerism at a dispiritingly self-limiting level, anyone does it in the first place.” You said it, Joan.

What about Didion’s fiction?

Most people will tell you to read “Play It as It Lays” (1970), her second novel, and they’re not wrong. Like the screenplay version she and Dunne later wrote, Didion’s novel is a bleak tale of a melting-down actress in a tumultuous 1960s Hollywood.

But of her five novels, the best is “Democracy” (1984). Occasionally I think it might be the Great American Novel. Narrated by a journalist named Joan Didion, it’s mostly the story of Inez Victor, the wife of a Kennedy-style senator who ran a failed campaign for president. But Inez has been in love since she was a teenager with a man named Jack Lovett, whose occupation is unclear (C.I.A. agent? War profiteer?) but who, for her, represents safety. He is the John Wayne figure in the book. He can’t keep bad things away, but he can fix them.

“Democracy” ends tragically — all of Didion’s novels end tragically — yet with a note of romantic hope that turns the whole thing into a sweeping epic. You can almost hear the strings swelling.

I want to understand Didion’s politics.

Good luck. She did start out very conservative, and trended leftward into adulthood after getting fed up with Nixon and Reagan. Yet she remained very difficult to pin down. Her early work is full of takedowns of idealism on the right and the left, as if she is always looking at these matters through narrowed eyes.

But if you want to see, roughly, where she landed, then the place to go is her book “Political Fictions,” a collection of essays that had the misfortune to be published on Sept. 11, 2001. They’re mostly reporting from campaigns of figures like Michael Dukakis and Jesse Jackson, or the travails of an impeached Bill Clinton, and the eye she casts is clearly one that wears Hollywood-colored glasses. Everything in a campaign or a presidency, she writes, is carefully choreographed in much the same way as a movie set. This is a sign, to her, of political decline, a category error that renders politics as flat, useless and commodified. The candidate is a product being sold to the public, just like a movie star. Don’t miss the review of Newt Gingrich’s work in “Political Fictions,” which she manages to take apart by simply listing his metaphors and references.

Once you’re done with “Political Fictions,” pick up “Where I Was From,” published a few years later, in which Didion retreads her own work and life story. It’s a re-evaluation, after both her parents’ deaths, of the myths and ideas she absorbed as a young girl in California, and thus a re-evaluation more broadly of American myths and legends. (She does some of the same work in the slim book “Fixed Ideas: America Since 9/11,” which fiercely questions dogma that arose in the wake of the attacks and, in particular, ideas and articles published by The New York Times.)

What is one Didion essay that can’t be missed?

Didion’s most consequential essay may be “Sentimental Journeys, ” first published in The New York Review of Books in 1991 and later collected in “After Henry” (1992). It concerns the infamous case of the Central Park jogger and the railroaded confessions of the so-called Central Park Five, five teenagers wrongfully accused of the crime and sent to prison. In a full-page ad he personally paid to place in four local papers, Donald J. Trump, then a local businessman, called for their execution . In 2002, their convictions were vacated. (One of them, Yusef Salaam, is now a New York City councilman.)

In “Sentimental Journeys,” Didion comes at the case sideways, examining the stories that New Yorkers tell themselves about the city and its inhabitants. She writes about how racism distorts this story, and questions whether the jogger’s name should have been released to the public. And she explores how a single case such as this one, though hardly the only of its kind, can be wound up by the news media, politicians and opportunists into representing something much bigger and much less logical.

Her diagnosis has aged breathtakingly well. “In a city in which grave and disrupting problems had become general — problems of not having, problems of not making it, problems that demonstrably existed, among the mad and the ill and the underequipped and the overwhelmed, with decreasing reference to color — the case of the Central Park jogger provided more than just a safe, or structured, setting in which various and sometimes only marginally related rages could be vented,” she wrote. In typical Didion fashion, that could have been written yesterday.

What was she thinking about near the end of her life?

Didion’s final two decades were filled with loss. On Dec. 30, 2003, Dunne and Didion returned home from visiting their daughter, Quintana Roo Dunne, in the hospital, where she was in a coma. Dunne suddenly dropped dead from a heart attack. Didion told the story of her year of grief in “The Year of Magical Thinking” (2005), which won the National Book Award. Just before the book was published, Quintana died. Didion toured in the midst of her grief, then wrote a theatrical adaptation, which opened on Broadway in March 2007, starring Didion’s longtime friend Vanessa Redgrave as the author.

“The Year of Magical Thinking” is intense and cyclical, evoking the mind caught in a state of grief as much through its form as its content. Many who have read it in the middle of grief (including me) have found it profoundly cathartic. It’s representative of a writer who has turned her famously perceptive gaze upon herself, something she continued in “Blue Nights” (2011), which reflects on her daughter’s life.

It’s often overlooked, but as a supplement to reading these late Didion books, don’t miss her essay “ The Case of Theresa Schiavo ,” published several months before Quintana died. In it she wrestles fervently with the fate of Schiavo, a woman on life support who had become a source of national political debate. Once you know from her books what she went through while Quintana was on life support, the essay takes on a whole new meaning. Didion made the personal both cultural and political — a practice she’d honed over a storied career.

An earlier version of this article referred incorrectly to the woman known as the Central Park jogger. She survived the attack; she was not murdered.

An earlier version of this article misstated the title of a screenplay Joan Didion wrote with her husband. It was “The Panic in Needle Park,” not “The Panic at Needle Park.”

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Alissa Wilkinson is a Times movie critic. She’s been writing about movies since 2005. More about Alissa Wilkinson

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Sophia Bush comes out as queer, confirms relationship with Ashlyn Harris

Actor Sophia Bush came out as queer in an emotional essay in Glamour and confirmed she’s in a relationship with retired U.S. Women’s National Team soccer player Ashlyn Harris. 

“I sort of hate the notion of having to come out in 2024,” Bush wrote in a cover story for the fashion magazine published Thursday. “But I’m deeply aware that we are having this conversation in a year when we’re seeing the most aggressive attacks on the LGBTQIA+ community in modern history.” 

Bush noted that there were more than 500 anti-LGBTQ bills proposed in state legislatures last year and said this motivated her to “give the act of coming out the respect and honor it deserves.” 

“I’ve experienced so much safety, respect, and love in the queer community, as an ally all of my life, that, as I came into myself, I already felt it was my home,” she wrote. “I think I’ve always known that my sexuality exists on a spectrum. Right now I think the word that best defines it is queer . I can’t say it without smiling, actually. And that feels pretty great.”

The “One Tree Hill” star filed for divorce from entrepreneur Grant Hughes in August. People magazine first reported in October that Bush and Harris were dating, but neither confirmed nor commented on the report. The pair later attended an Oscar’s viewing party together in March . 

In the essay, Bush addressed online rumors that her relationship with Harris began before Harris had officially divorced from fellow soccer star Ali Krieger, in September. 

“Everyone that matters to me knows what’s true and what isn’t,” Bush wrote. “But even still there’s a part of me that’s a ferocious defender, who wants to correct the record piece by piece. But my better self, with her earned patience, has to sit back and ask, What’s the f------- point? For who? For internet trolls? No, thank you. I’ll spend my precious time doing things I love instead.”

Bush said that after news about her and Harris became public, her mom told her that a friend called and said, “Well, this can’t be true. I mean, your daughter isn’t gay .” 

“My mom felt that it was obvious, from the way her friend emphasized the word, that she meant it judgmentally,” Bush wrote. “And you know what my mom said? ‘Oh honey, I think she’s pretty gay. And she’s happy .’”

Bush wrote that she felt like she was wearing a weighted vest that she could finally put down. 

“I finally feel like I can breathe,” Bush wrote. “I turned 41 last summer, amid all of this, and I heard the words I was saying to my best friend as they came out of my mouth. ‘I feel like this is my first birthday,’ I told her. This year was my very first birthday.”

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Jo Yurcaba is a reporter for NBC Out.