blood in macbeth essay

William Shakespeare

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Blood Quotes in Macbeth

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William Shakespeare

• Literature Notes
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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
• Act II: Scene 1
• Act II: Scene 2
• Act II: Scene 3
• Act II: Scene 4
• Act III: Scene 1
• Act III: Scene 2
• 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
• Act V: Scene 2
• Act V: Scene 3
• Act V: Scene 4
• Act V: Scene 5
• Act V: Scene 6
• Act V: Scene 7
• Act V: Scene 8
• Act V: Scene 9
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Critical Essays Major Symbols and Motifs

Explore the different symbols within William Shakespeare's tragic play, Macbeth . Symbols are central to understanding Macbeth as a play and identifying Shakespeare's social and political commentary.

Throughout Shakespeare's Macbeth , the weather plays an important role. The rebelling nature of wind and lightning indicates the disruption within the natural order of society. It makes it seem as if the weather is upset with Macbeth 's actions. In many Shakespearean plays — including this one — rebelling nature shows a departure from accepted political and moral order.

Blood itself — the color, the smell, and importance — is vital to life and shocking to see. The constant presence of blood in Macbeth repeatedly reminds the audience about how serious the consequences of the characters actions are. But almost surpassing the importance of physical blood is the imagined blood found throughout the play. Imaginary blood represents guilt for Macbeth and Lady Macbeth . It's not until after the murder of Duncan that their guilt begins to manifest. As their guilt grows, so does the importance of the blood.

What's more, the imaginary blood also shows how Macbeth and Lady Macbeth both lose a grasp on reality. Often quoted is the fact that Lady Macbeth cannot get the imagined blood off her hands nor can her husband. Their guilt is all consuming and inescapable. The imagined blood haunts both characters, following them until their death.

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Home — Essay Samples — Literature — Macbeth — Blood Stained Hands In Macbeth

Blood Stained Hands in Macbeth

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Published: Mar 14, 2024

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Blood Symbolism in “Macbeth” by Shakespeare

Authors often utilize symbols to signify the importance of events, objects, or relationships in their works. Indeed, the majority of the great poetic or literature works use some degree of symbolism to allow readers to visualize the writers’ messages. Correspondingly, in the play Macbeth , Shakespeare uses symbolism to portray the primary theme of fate. The blood acts as a sign of guilt and murder, which Shakespeare employs to illustrate the personalities of Macbeth and his wife, Lady Macbeth.

Blood symbolizes the feelings of murder after Macbeth kills Duncan. Shakespeare uses this symbol to exhibit Macbeth’s guilt and horror for his crime. Macbeth experiences disturbing emotions after killing Duncan as he explains that the idea of murder or the sight of blood is awful, which leads to tears in his eyes (Shakespeare 19). This confession demonstrates the magnitude of Macbeth’s shock, which surpasses his expectations before committing the murder. He is not only perturbed but also exhibited the emotions of extreme guilt. Macbeth feels culpable for murdering Banquo, and he confirms his regret when he describes the ghosts haunting him (Shakespeare 35). Besides, blood symbolism shows how Lady Macbeth’s perceptions towards murder change with the plot’s progression. Initially, she effortlessly cleans blood from her hands, disregarding any sense of guilt. Nevertheless, at the end of the play, Lady Macbeth seems astonished to see her husband’s guards covered with blood (Shakespeare 59). She sees a spot of blood on her hand and struggles to wash it, demonstrating the incurable guilt for the murders committed during Macbeth’s leadership.

Blood serves as a persistent sign of the characters’ emotional development. Although Macbeth and Lady Macbeth were comfortable with killing to inherit the reign, they later experience immeasurable guilt due to their actions. Therefore, blood symbolism shows the state of despair, which defines the main characters’ fate owing to their selfish ambitions, thus enabling readers to compare and contrast the change of their emotions as the plot unfolds.

Shakespeare, William. “Macbeth.” Shakespeare Out Loud , 2001. Web.

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Macbeth Motifs: Unpacking Ambition and Blood in Shakespeare’s Play

Motifs are recurring symbols, images, or ideas in literature that help to develop and inform the text’s major themes. They act like threads woven through a tapestry, adding depth and color to the story. In the realm of dramatic literature, William Shakespeare’s “Macbeth” stands out as a quintessential example brimming with powerful motifs that drive its tragic narrative.

“Macbeth,” one of Shakespeare’s most renowned plays, tells the story of a Scottish general whose unbridled ambition and desire for power lead him down a dark and bloody path. The play is not only a gripping tale of political intrigue and psychological turmoil but also a rich canvas painted with motifs that enhance its thematic complexity.

In this article, we will delve into two prominent motifs in “Macbeth”: ambition and blood. We’ll define the role ambition plays in shaping the characters’ actions and examine how Macbeth’s relentless pursuit of power propels the plot forward. Additionally, we will discuss the blood motif, exploring its symbolism and analyzing key scenes where blood imagery is particularly potent.

By unpacking these motifs, we aim to shed light on how they contribute to the overarching themes of “Macbeth” and reflect on their lasting impact on both the interpretation of the play and its enduring legacy in literature. The Driving Force of Ambition in Macbeth

Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes. In the realm of dramatic literature, William Shakespeare’s “Macbeth” stands as a quintessential example, brimming with motifs that enrich the narrative and deepen the play’s thematic impact. Among these motifs, ambition plays a pivotal role, acting as both a propelling force and a thematic cornerstone.

Ambition in “Macbeth” is not merely a trait of character; it is an omnipresent theme that drives the plot forward and leads to the ultimate downfall of its characters. Macbeth himself is introduced as a valiant warrior, but it is his unchecked ambition that transforms him into a regicidal tyrant. This motif is first ignited by the prophecy of the three witches who foresee Macbeth’s rise to power. The witches’ words plant seeds of ambition in Macbeth, which are further watered by Lady Macbeth’s ruthless encouragement.

One clear example from the text where Macbeth’s ambition becomes central to plot development is when he soliloquizes about his desire for power in Act 1, Scene 7: “I have no spur / To prick the sides of my intent, but only / Vaulting ambition.” Here, Shakespeare uses equestrian imagery to convey how Macbeth’s ambition lacks justification and is akin to an uncontrollable horse leaping over any obstacle towards its goal.

Another instance occurs in Act 2, Scene 1, where Macbeth envisions a dagger leading him towards Duncan’s chamber: “Is this a dagger which I see before me…?” The hallucinated dagger symbolizes both the tangible power he seeks and the psychological torment his ambitions inflict upon him. It foreshadows the violent acts he will commit in pursuit of his aspirations.

The Blood Motif in “Macbeth”

In Shakespeare’s “Macbeth,” the motif of blood serves as a powerful symbol that weaves throughout the play, representing the guilt and remorse that plague the characters following their violent acts. This imagery is not only literal but also metaphorical, painting a vivid picture of the consequences of unchecked ambition.

One of the most striking instances of blood imagery appears after Macbeth murders King Duncan. Macbeth gazes at his blood-stained hands and says, “This is a sorry sight,” (Act 2, Scene 2) revealing his immediate sense of guilt. His wife, Lady Macbeth, tries to downplay the severity by saying, “A little water clears us of this deed,” (Act 2, Scene 2) suggesting that they can wash away their guilt as easily as they can clean their hands. However, as the play progresses, it becomes clear that the stain of their crimes cannot be so easily removed.

The blood motif recurs when Banquo’s ghost appears at a banquet, haunting Macbeth with his bloody gashes. Here, blood symbolizes the inescapable nature of Macbeth’s actions; no matter how much he tries to secure his power, he cannot escape the consequences of his violence.

Later in the play, Lady Macbeth’s descent into madness is marked by her obsession with imaginary bloodstains. In Act 5, Scene 1, she sleepwalks and repeatedly attempts to wash her hands while lamenting, “Out, damned spot! Out, I say!” Her hallucinations about blood reveal her overwhelming guilt and foreshadow her eventual suicide.

Through these key scenes and others where blood imagery recurs—such as Macduff’s discovery of Duncan’s body and the final battle scene—the motif underscores themes of guilt and retribution. The repeated references to blood serve not only to remind characters and audiences alike of the physical reality of murder but also to suggest that some stains are indelible, marking the soul just as deeply as they mark the flesh.

Conclusion: The Enduring Power of Motifs in Macbeth

In conclusion, motifs serve as vital threads that weave together the thematic tapestry of Shakespeare’s “Macbeth.” The relentless pursuit of power through the motif of ambition is a driving force behind the play’s tragic narrative. Macbeth’s insatiable desire to ascend to the throne, exemplified by his willingness to murder King Duncan, propels the plot into a maelstrom of guilt and paranoia.

Similarly, the blood motif is intricately tied to the concepts of guilt and retribution. From the bloody hands that Macbeth cannot seem to cleanse, symbolizing his inescapable guilt, to Lady Macbeth’s hallucinations of a “damned spot,” blood remains a stark reminder of their heinous deeds. It stains both their hands and their consciences, illustrating the indelible consequences of their actions.

These motifs do more than just underscore key themes; they enrich our understanding of the characters’ internal struggles and enhance the play’s dramatic impact. As we reflect on “Macbeth,” it becomes clear that ambition and blood are not merely recurring elements but are central to interpreting the play’s message about the corrupting power of unchecked desires and the inevitable downfall it brings.

The legacy of “Macbeth” endures because these motifs resonate with audiences across generations. They remind us that our darkest impulses can lead to our undoing and that some stains cannot be washed away. Through its masterful use of motifs, “Macbeth” continues to captivate readers and theatergoers alike, cementing its place as one of Shakespeare’s most powerful tragedies.

Related Pages:

• Motif in Macbeth: Unveiling Shakespeare's Thematic Tapestry
• Unveiling the Power: Symbols in Macbeth and Their…
• Unveiling Macbeth: Literary Devices Shaping…
• Motifs in Macbeth: Unveiling Themes and Character Arcs
• Exploring the Key Themes in Macbeth: Ambition,…
• Macbeth Literary Devices: Unveiling Shakespeare's…

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Critic’s Notebook

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

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

By Maya Phillips

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Macbeth (An Undoing)

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

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

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