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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.

Macbeth Oxford Lecture by Emma Smith

Analysis of William Shakespeare’s Plays

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Macbeth Essays

There are loads of ways you can approach writing an essay, but the two i favour are detailed below., the key thing to remember is that an essay should focus on the three aos:, ao1: plot and character development; ao2: language and technique; ao3: context, strategy 1 : extract / rest of play, the first strategy basically splits the essay into 3 paragraphs., the first paragraph focuses on the extract, the second focuses on the rest of the play, the third focuses on context. essentially, it's one ao per paragraph, for a really neatly organised essay., strategy 2 : a structured essay with an argument, this strategy allows you to get a much higher marks as it's structured to form an argument about the whole text. although you might think that's harder - and it's probably going to score more highly - i'd argue that it's actually easier to master. mainly because you do most of the work before the day of the exam., to see some examples of these, click on the links below:, lady macbeth as a powerful woman, macbeth as a heroic character, the key to this style is remembering this: you're going to get a question about a theme, and the extract will definitely relate to the theme., the strategy here is planning out your essays before the exam, knowing that the extract will fit into them somehow., below are some structured essays i've put together., macbeth and gender.

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. 

Thanks for reading! If you find this resource useful, you can take a look at our full online Macbeth course here . Use the code “SHAKESPEARE” to receive a 50% discount!

This course includes: 

• A full set of video lessons on each key element of the text: summary, themes, setting, characters, context, attitudes, analysis of key quotes, essay questions, essay examples
• Downloadable documents for each video lesson 
• A range of example B-A* / L7-L9 grade essays, both at GCSE (ages 14-16) and A-Level (age 16+) with teacher comments and mark scheme feedback
• A bonus Macbeth workbook designed to guide you through each scene of the play!

For more help with Macbeth and Tragedy, read our article here .

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. 

If you’re studying Macbeth, you can click here to buy our full online course. Use the code “SHAKESPEARE” to receive a 50% discount!

You will gain access to  over 8 hours  of  engaging video content , plus  downloadable PDF guides  for  Macbeth  that cover the following topics:

• Character analysis
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There are also tiered levels of analysis that allow you to study up to  GCSE ,  A Level  and  University level .

You’ll find plenty of  top level example essays  that will help you to  write your own perfect ones!

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The Analysis of The Macbeth

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Mr Salles Teaches English

Grade 9 Essay: How does Shakespeare present the theme of ambition in the play?

What is the shortest essay which can get full marks.

I’m writing a guide to how to write essays at each grade for Macbeth. My Ultimate Guide to Macbeth shows you how to understand the whole play, scene by scene, to above grade 9. It also shows you how to write about each scene at grades 6, 7, 8, 9 and beyond grade 9.

I’ve written over 20 guides and it is the best guide I have ever written.

But, what if you are a student who just wants a grade 5, or just wants a grade 7, or you want a grade 9, but you want it as quickly as possible. You don’t want to read an Ultimate Guide to Macbeth - that’s going to have a lot of Mr Salles brilliance in it but, no offence Mr Salles, English isn’t even in my top 5 subjects.

I want the maximum marks, with the minimum effort.

So, that’s why I’m writing a series of new guides, showing you ‘just’ what you need for each grade, and no more.

How I wrote the essays in the essay writing guide (out in September)

I found all the essays I could which had been marked by a senior examiner.

I rewrote them, changing all the words, but keeping every idea and technique, and every quote.

Then I counted the features of each essay. Exam criteria are vague and open to interpretation. So I wondered, are there features of each essay I can count, which are not open to interpretation? And then, if we do count these features, will they predict the right mark?

Let’s find out.

This is an extract from the guide. Normally, my comments, and the examiner comments, follow the essay. Here, I have put the comments first so you can see what the examiner is looking for before you read the essay.

Response 24

Thesis Statement Yes Explanations 9 Quotes 5 Named Methods 5 Society/era/patriarchal/Jacobean/contemporary/ historical reference etc 3 Shakespeare 4 Exploratory Could, Might, May, Perhaps, Probably 0 Conclusion Yes Paragraphs 7

My Comments

Well, well, well. I was not expecting that mark. (It scored 25/30).

It doesn’t have anywhere near the number of references or quotations I was expecting for AO1.

It introduces the idea that ambition will affect ‘reason’, but never actually proves it –there are many easy examples and quotes revealing the mental state of Macbeth – is this a dagger, murdered sleep, never shake they gory locks, my mind is full of scorpions etc - and Lady Macbeth sleepwalking. The original essay included mistakes in identifying adverbs and nouns, which I’ve got rid of, because even naming them correctly adds no marks. There is very little context used to back up interpretations.

So, what has impressed the examiner?

There are both a thesis statement and a conclusion, so it becomes a well-constructed argument. The student has quoted from the end of the play right at the beginning, to show that they are dealing with the whole text. Although they don’t give many examples from the rest of the play, they do move through it chronologically, so it is a well-constructed argument. This, and very specific language to describe it, helps the student look at Macbeth’s character arc, his ‘journey’, showing how Macbeth changes. The answer looks at the structure of the play in two ways. First by viewing Macbeth’s life in two parts – a rise and fall. Secondly, by exploring Banquo as the antithesis to Macbeth in his ambition. These two ideas mark the answer out as thoughtful and different from most students’ essays.

Examiner Comments

The answer focuses on ambition right from the start and with every point. The thesis statement and next paragraph make it clear that the student is dealing with the whole text. The essay is thoughtful and developed. The student embeds quotations and references to illustrate their ideas. The student’s comments about Shakespeare’s intentions throughout the essay show that they realise his choices are deliberate. In order to get into level 6 the student should explore more of Shakespeare’s ideas.

Write down the other ideas you could put into this essay.

Find references or quotes to back these up.

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The 420 Word Essay!

Shakespeare reveals ambition as the dominant theme in the play, because it is Macbeth’s overpowering ambition which leads to his immoral murder of King Duncan. Lady Macbeth and the witches can only influence Macbeth in this because his ambition is already so great.

In this extract, Shakespeare explores how ambition influences even the most honourable. This is why he gives Lady Macbeth the perspective that Macbeth’s character is “ too full o’th’ milk of human kindness ”, which is her real perception because Shakespeare reveals it in SOLILOQUY. We associate “ milk ” with innocence and purity, which implies that Macbeth is too noble to act on his ambition. Yet, once he has reigned as king, he is viewed as a “ butcher ”, because he has become both cruel and indiscriminate in his killing.

This change from excessive kindness to tyranny is a surprising journey, which warns the audience of the danger of ambition. Moreover, Shakespeare portrays ambition as a force which will overcome morality and reason. He gives Lady Macbeth the view that Macbeth is “ not without ambition, but without the illness should attend it ”. The COMPARISON of ambition to “ illness ” implies that it is destructive, and also that this destruction can turn on the ambitious person themselves, attacking their sense of morality and ability to be kind.

Macbeth lists every reason not to murder Duncan, before focusing on his “ vaulting ambition ”. This METAPHOR implies that his ambition is more powerful than his conscience, so he will overcome his moral objections.

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AQA GCSE ENGLISH LITERATURE WRITING MACBETH ESSAYS PPT

Subject: English

Age range: 14-16

Resource type: Lesson (complete)

Last updated

27 May 2024

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AQA GCSE English Literaturee - How to write a ‘Macbeth’ (William Shakespeare) essay.

An 89 slide PowerPoint covering:

• What to expect
• How am I assessed?
• How to plan
• How to structure
• How to write a paragraph
• Introductions and conclusions

Used with my Year 10 and Year 11 mid-ability classes.

Uses transitions and animations, for use on whiteboards.

Tes paid licence How can I reuse this?

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Rethinking the 5-Paragraph Essay in the Age of AI

Will AI kill the five-paragraph essay? To find out, I asked my ninth grade English teacher.

The five-paragraph essay is a mainstay of high school writing instruction, designed to teach students how to compose a simple thesis and defend it in a methodical, easily graded package. It's literature analysis at its most basic, and most rigid, level.

A typical five-paragraph essay asks students to pick a simple thesis, usually from a list of prompts, and compose a short introductory paragraph, followed by three paragraphs each laying out a different piece of supporting evidence, followed by a final paragraph—usually beginning, "In conclusion…."

Critics argue this assignment kills student creativity and turns writing into an exercise in pure drudgery. I tend to agree, remembering my time spent composing five-paragraph essays as soul-rending—forcing me to focus on sticking to a formula and a restrictive prompt rather than actually analyzing the books I was reading.

But the sudden ubiquity of large language models such as ChatGPT threatens to upend this status quo.

"I am *shocked* by how good OpenAI's new chat" is, University of Toronto professor Kevin Bryan tweeted after the first release of ChatGPT. "You can no longer give take-home exams/homework."

To test this hypothesis, I sat down in front of ChatGPT and gave it a classic freshman-year English prompt: "Please write me an approximately 500-word, five-paragraph essay discussing the role of Newspeak in controlling the people of Oceania in George Orwell's novel, 1984 . Please use MLA formatting and include 1–2 quotes per paragraph."

In response, it spit out an—ahem— six-paragraph, 588-word essay .

"In George Orwell's dystopian novel '1984,' the ruling Party of Oceania employs Newspeak as a potent tool for controlling the thoughts and behaviors of its citizens," the essay begins. "Newspeak, a language designed to limit freedom of expression and thought, serves as a mechanism for the Party to maintain its authoritarian rule and suppress dissent. Through the manipulation of language, the Party effectively restricts the ability of individuals to articulate dissenting ideas, ultimately consolidating its power over the population."

And then I sent it to my ninth grade English teacher.

Corey Craft taught English at the Alabama School of Fine Arts for nine years and now serves as an instructor in the school's creative writing department. A decade ago, I first read 1984 for his class.

"I'd give this essay a mid-level B—an 85," he told me. "Is the content OK? Sure. It's a little surface-level…but it gets the major points right."

Yet he also noted the essay's impressive vocabulary—phrases such as "linguistic manipulation" and "reshape historical narratives"—would sound some alarm bells. "There are words and concepts used in this paper that I would find suspicious coming from the average ninth grader," Craft added.

ChatGPT also made another glaring fumble—producing a six-paragraph essay, despite my multiple attempts to rephrase the prompt so it would stick to just five paragraphs.

While the typical ninth grade cheater might not be clever enough to fix these mistakes—Craft says he sometimes sees plagiarism where students have copy-pasted text without changing the font or text color—it's only a matter of time before tools such as ChatGPT work out these kinks.

Much to the chagrin of the five-paragraph essay's harshest critics, myself included, it doesn't look like ChatGPT will spell the end of the assignment. While five-paragraph essays are achingly dull, they do serve a simple purpose—they match the median student's ability level, even if it means leaving behind the significant minority of kids who can barely read by eighth grade and infuriating a small cohort of nerds who end up getting degrees in Renaissance literature.

There simply isn't an obvious alternative to the five-paragraph essay—and certainly not one that is somehow immune from inevitable AI mimicry. In a ChatGPT-saturated world, teachers will likely resort to giving students handwritten, in-class five-paragraph essays instead of ditching the assignment entirely—even if this is "more of a pain for the student to complete and more of a pain for the teacher to grade," Craft notes.

In short, rather than reshape writing instruction, educators will find new, less technology-dependent ways to keep doing the same thing.

"That may take trial and error," Craft says, "but that's part of the fun of the job."

The post Rethinking the 5-Paragraph Essay in the Age of AI appeared first on Reason.com .