lady macbeth literature essay

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An Interesting Character Study: Lady Macbeth

Lady Macbeth is widely regarded as one of the most villainous female characters in all of English literature, and perhaps Shakespeare’s most cold-hearted female character. Not only does she urge her husband to murder their King for no other reason than heartless ambition, she also states that she would dash out her own baby’s brains rather than lose her courage for such a regicidal act.

‘How many children had Lady Macbeth?’ was the title of a long essay by the critic L. C. Knights, published in 1933, mocking the school of criticism (ultimately influenced by the critic A. C. Bradley) which seeks to ask, and answer, such questions about details hinted at, but not confirmed, in the play concerning characters’ lives. Although the play doesn’t tell us, Lady Macbeth does declare that she has ‘given suck’ to a baby, although whether this was her child with Macbeth, or a child by a previous marriage (in keeping with the source material in Holinshed), the play never reveals.

Does the question matter? In one sense, no. Even if Macbeth has no heir to succeed him (so the crown might end up passing to Banquo’s descendants anyway), he may hope to get one. So the motivation for keeping the crown and getting rid of Banquo and Fleance remains the same. The most important thing, perhaps, is Lady Macbeth’s shocking revelation that she would be prepared to murder her own baby that she had suckled (whether her child with Macbeth or not is beside the point) in order to fulfil her ambition for power.

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3 thoughts on “An Interesting Character Study: Lady Macbeth”

For me, Lady Macbeth is the ultimate supportive spouse: ready to do everything it takes to help her husband to achieve his ultimate goal, no matter if this will cause her madness first, and then her death. Macbeth is quite the ungrateful sod: when he is told about his queen’s death, he simply shrugs. Poor Gruoch (the real Lady Macbeth’s name), what kind of fame was she undeservedly given.

The worst take I have heard

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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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Analysis of William Shakespeare’s Plays

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Lady Macbeth Character Analysis Essay

This essay will provide a character analysis of Lady Macbeth from Shakespeare’s “Macbeth.” It will explore her role in the play, her manipulative and ambitious traits, her psychological progression, and her ultimate downfall, reflecting on her impact on the play’s events. Moreover, at PapersOwl, there are additional free essay samples connected to Lady Macbeth.

How it works

In the canon of English literature, “Macbeth” by William Shakespeare stands as a timeless exploration of ambition, morality, and the human psyche. Among the play’s memorable characters, Lady Macbeth captivates audiences with her powerful and complex personality. Her role is pivotal, influencing the narrative’s events and themes. This essay explores Lady Macbeth’s character, shedding light on her influence on the tragic plot of “Macbeth” and her significant contribution to the play’s universal themes.

1 Lady Macbeth as the Catalyst for Macbeth’s Ambition
2.1 Unsexing and the Desire for Power
2.2 Femininity as a Tool for Manipulation
3.1 Guilt-induced Madness
4.1 A Symbol of Regret and Destruction
4.2 Reflection on Lady Macbeth’s End
5.1 Conclusion

Lady Macbeth as the Catalyst for Macbeth’s Ambition

Lady Macbeth’s desire for power is unmistakable.

Her ruthless ambition is the spark that sets Macbeth’s actions into motion. Among the most iconic moments in “Macbeth” is Lady Macbeth’s chilling monologue, where she implores the “spirits that tend on mortal thoughts” to make her ruthless. She then employs this newly imbued ruthlessness to manipulate her hesitant husband into committing the unfathomable act of murdering King Duncan. Her words, “screw your courage to the sticking place,” are a chilling testimony to her unyielding influence over her husband’s actions. Through this, we see how Lady Macbeth’s ambition directly influences Macbeth’s actions and leads to both their downfalls. Her insatiable desire for power and control not only instigates the plot’s tragic turn but also contributes significantly to the destructive consequences that follow.

Lady Macbeth and Gender Roles

Lady Macbeth defies the gender norms of her time with her assertive and ambitious nature, traits typically associated with masculinity in the Elizabethan era. In contrast to the quiet, submissive ideal of womanhood, Lady Macbeth presents herself as a dominant and persuasive force capable of orchestrating regicide to achieve her ends.

Unsexing and the Desire for Power

Even more striking is Lady Macbeth’s expressed desire to abandon her feminine traits to achieve her ambitions. She implores spirits to “unsex” her, seeking to cast off what she perceives as the constraints of femininity. This defiance of gender norms underscores Lady Macbeth’s strength and determination, illustrating her character’s unique and complex nature.

Femininity as a Tool for Manipulation

Yet, despite her desire to shed her femininity, Lady Macbeth uses her gender to her advantage. She manipulates the expectations of her womanhood to control Macbeth, oscillating between a nurturing wife and a cunning instigator. This sophisticated use of her femininity adds further depth to her character, showcasing the complexity of gender roles and power dynamics in the play. Lady Macbeth’s character, therefore, stands as a powerful commentary on gender and power, resonating with audiences even today.

Lady Macbeth’s Psychological State

Lady Macbeth’s psychological journey is a captivating aspect of “Macbeth”. She begins as a figure of unyielding ambition, steeled and ruthless. Yet, as the play progresses, the guilt resulting from her actions seeps in, causing a dramatic transformation. The once-determined woman, driving her husband towards regicide, starts crumbling under her conscience’s weight.

Guilt-induced Madness

Her guilt manifests as a haunting madness that erodes her mental stability. A key scene that illustrates this shift is her infamous sleepwalking scene. Haunted by her actions, she imagines her hands stained with King Duncan’s blood and obsessively tries to wash it off, uttering, “Out, damned spot!” This vivid manifestation of her guilt shows how it eats away at her psyche, bringing her to a state of utter torment.

Lady Macbeth’s mental decline presents a poignant exploration of guilt and the human mind. Her tragic downfall isn’t just physical but psychological as well. The character who was once the embodiment of ambition and ruthlessness becomes a symbol of guilt-induced madness, offering a compelling narrative of psychological deterioration. This tragic transformation is a stark reminder of the consequences of unchecked ambition and guilt.

The Tragic End of Lady Macbeth

Lady Macbeth’s demise is one of the most poignant elements of the narrative. It encapsulates the tragedy of a character who once wielded immense power and influence but succumbs to guilt and madness. Her end contrasts starkly with her initial stature, highlighting the devastating consequences of unchecked ambition.

The tragic irony of Lady Macbeth’s death is profound. The same woman who had the audacity to push her husband to commit regicide, driven by an insatiable thirst for power, is reduced to a state of utter desolation. The power she once desired becomes the very cause of her downfall, highlighting the cautionary message of the play.

A Symbol of Regret and Destruction

Lady Macbeth’s death is more than just the conclusion of her life. It symbolizes the dire consequences of moral corruption and boundless ambition. Her guilt, symbolized by the imaginary bloodstains on her hands, never ceases to torment her until her last breath, turning her life into a cautionary tale of regret and destruction.

Reflection on Lady Macbeth’s End

Reflecting on Lady Macbeth’s tragic end, one can’t help but perceive it as a poignant testament to the perils of unchecked ambition and moral degradation. The once fierce and ambitious Lady Macbeth exits the narrative as a shattered version of her former self, a stark reminder of the destructive power of guilt and ambition. Her demise not only adds a layer of tragedy to the play’s plot but also reinforces the themes that define this Shakespearean masterpiece.

Influence on Popular Culture

Lady Macbeth’s legacy extends beyond the pages of the play. Her character has influenced numerous adaptations and reinterpretations in popular culture, contributing to the ongoing relevance and popularity of Shakespeare’s “Macbeth.” She continues to symbolize unchecked ambition and the tragic consequences it can lead to, ensuring her enduring presence in literary discussions and cultural references.

Lady Macbeth’s character is a captivating study of ambition, power, gender norms, and psychological struggle. From her initial assertiveness and control to her eventual guilt-induced madness, her character remains a crucial driver of the play’s tragic narrative. Her downfall underlines the inherent dangers of unchecked ambition and the lasting psychological impact of guilt. By understanding Lady Macbeth’s character, we can gain a deeper insight into the play’s universal themes, teaching us valuable lessons about ambition, guilt, and the human psyche.

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Home — Essay Samples — Literature — Macbeth Power — Lady Macbeth: A Psychological Analysis

Lady Macbeth: a Psychological Analysis

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Published: Mar 16, 2024

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The ambition and power struggle, guilt and madness, the influence of gender expectations.

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Shakespeare: Model Answers ( AQA GCSE English Literature )

Revision note.

English Senior Content Creator

Model Answers

Below, you will find a full-mark, Level 6 model answer for a Shakespeare essay. The commentary below each section of the essay illustrates how and why it would be awarded Level 6. Despite the fact it is an answer to a Macbeth question, the commentary below is relevant to any Shakespeare question.

As the commentary is arranged by assessment objective, a student-friendly mark scheme has been included here:



		when techniques are explained fully and relevant to your argument

Model Answer Breakdown

The commentary for the below model answer as arranged by assessment objective: each paragraph has a commentary for a different assessment objective, as follows:

The introduction includes commentary on all the AOs

Paragraph 1 includes commentary on AO1 (answering the question and selecting references)

Paragraph 2 includes commentary on AO2 (analysing the writer’s methods)

Paragraph 3 includes commentary on AO3 (exploring context)

The conclusion includes commentary on all the AOs

The model answer answers the following question:

image-merged-model-answer-shakespeare-master-aqa-gcse-english-literature

Level 6, Full-Mark Answer

Shakespeare presents Lady Macbeth as a female character who changes dramatically over the course of the play: she changes from a ruthless, remorseless woman who is able to manipulate her husband, to one that is sidelined by Macbeth and, ultimately, totally consumed by guilt. Shakespeare is perhaps suggesting that unchecked ambition and hubris, particularly for women, have fatal consequences.

Commentary:

The introduction is in the form of a thesis statement

It includes a central argument based on my own opinions

It includes keywords from the question:

"Shakespeare presents Lady Macbeth as a female character who changes dramatically over the course of the play"

It takes a whole-text approach, referencing changes across the whole play:

"she changes from a ruthless, remorseless woman who is able to manipulate her husband, to one that is sidelined by Macbeth and, ultimately, totally consumed by guilt."

It acknowledges Shakespeare as an author making deliberate choices and conveying a message:

"Shakespeare is perhaps suggesting that ..."

It includes modal language to show a conceptualised approach

Lady Macbeth’s strength – and ability to command and manipulate those around her – dramatically diminishes from the first time the audience sees her, in Act I, Scene V, to the last time, here in Act V, Scene I. The first time she is presented to the audience, Lady Macbeth is presented as a very untypical woman: far from being a dutiful and subservient wife, she is shown to be plotting on Macbeth’s behalf, speaks of him disparagingly (she worries he is too kind to carry out her plan), and is presented as having power over both Macbeth and her surroundings. This dominance can be seen in her use of imperatives, both when she is directing Macbeth to disguise his true intentions to Duncan (and be a “serpent underneath”), and later, more forcefully, when she orders Macbeth to “give” her the daggers. This shows that Lady Macbeth has almost assumed the dominant position in their relationship, and taken on the typically ‘male’ characteristics of authority and strength (whereas Macbeth’s “kindness” can here be seen as a sign of weakness). However, there is an irony in Shakespeare’s use of imperatives later in the play: in Act V, Scene I, Lady Macbeth is shown to have lost her power to command those things around her and her use of imperatives (“Out, damned spot! Out, I say”) speaks more of abject desperation than her authority. She has lost the power to command her husband, her surroundings and even her own mind. Shakespeare could be suggesting that the unusual power dynamic presented at the beginning of the play is unnatural, and that, as a woman, Lady Macbeth would never be able to maintain this type of authority without succumbing to madness.

The paragraph begins with a topic sentence

Topic sentence directly addresses the question (the “change” the character undergoes)

Topic sentence has a narrower focus than the thesis statement

The whole paragraph is related to the topic sentence

The paragraph includes at least one reference to the extract

The paragraph includes multiple references to the rest of the play

All references are linked to the question and support the argument of my topic sentence

Shakespeare presents Lady Macbeth as a character whose self-control and authority over her own mind evaporates by Act V. We see this in the repetitious and fragmented language Shakespeare has her use in this scene. The repetition of several words and phrases (“to bed”; “come”; “O”) shows a character who is not in control of her own thought processes and has lost agency over her own mind. Shakespeare emphasises this by using contrasting verse forms for Lady Macbeth as the play progresses. Initially, she uses the order and authority of blank verse, which reflects her own power and control. However, in this scene, Lady Macbeth does not use the regular or ordered language of blank verse, but rather the disordered form of prose. This reflects both her loss of status and power (prose is often used by commoners in Shakespeare’s plays), but also her own mental illness. Indeed, the description of her having a “disease” in this scene is ironic, since earlier in the play she describes Macbeth as “brainsickly” and “infirm”: it is now she who is the weaker of the two. Perhaps Shakespeare uses this role reversal once again to suggest that women assuming positions of dominance is unnatural and may lead to mental decline.

The analysis provides evidence for the points in the topic sentence (all evidence relates to Lady Macbeth’s mental state)

Whole-text analysis of Shakespeare’s methods, not just focused on the extract

Not just analysis of Shakespeare’s language, but also of form

The analysis includes other wider choices made by Shakespeare:

Characterisation

All analysis is explained fully in terms of the question and my own argument

The analysis explained in terms of Shakespeare’s overall message

Shakespeare presents Lady Macbeth as a character who loses her resolve over the mortal sin of regicide as the play progresses. Initially, Lady Macbeth is presented as a character who believes that both she and her husband will be able to evade the typical consequences of committing a crime – the murder of a king – that would have been seen as truly heinous. Not only is it a crime punishable by death, but the religious consequences would be dire: eternal punishment in Hell. Shakespeare presents her as acknowledging the seriousness of the crime in Act I, Scene V where she references Heaven and Hell prior to the murder of Duncan, but she believes, arrogantly, that she is strong enough to evade capture, as well as cloak herself from feelings of guilt and remorse. Her hubris is also shown later in the play, after the regicide has been committed, when she tells Macbeth that “a little water clears us of this deed”, implying that it will be straightforward to escape the psychological impact of committing a mortal sin. However, by Act V, Scene I Lady Macbeth is shown to have completely lost her resolve, and is haunted by those psychological impacts: she sees blood, which symbolically represents guilt, on her hands, which she cannot wash off. Indeed, later she states that Duncan had “so much blood in him”, an admission that a little water could never have cleansed the guilt from her conscience (“what’s done cannot be undone”). This irony is highlighted again by Shakespeare when Lady Macbeth states that “all the perfumes of Arabia will not sweeten this little hand”, the hyperbole emphasising the enormity of her crime. Shakespeare could be suggesting that no one can escape the psychological and theological consequences of regicide. Indeed, the Doctor states that he has never seen anyone in Lady Macbeth’s state die “holily”, echoing Lady Macbeth’s own earlier reference to Hell.

Does not include any irrelevant historical or biographical facts

All context is linked to the topic sentence (“loses resolve over the mortal sin of regicide”) and the argument as a whole

All context is integrated into analysis of Shakespeare’s methods

Understanding contextual ideas and perspectives provides additional insight into my main argument

Context is sometimes implied, rather than explicit. This still shows sophisticated awareness of ideas (here about religion and Hell)

In conclusion, Shakespeare presents Lady Macbeth as a female character who changes from a character who assumes dominance over her husband and her surroundings, to a woman who loses all agency. Moreover, initially, Shakespeare presents her as a character who seemingly has the mental fortitude to deal with the mortal sin of regicide with a clear conscience, but this mental strength also evaporates. Shakespeare could be issuing a warning to those people who believe they can escape the psychological and theological consequences of sin, especially if they are women who assume an atypical and unnatural position of power.

The conclusion uses keywords from the question

The conclusion links to the thesis

The conclusion sums up more detailed arguments outlined in the topic sentences of all paragraphs

It also gives a fuller understanding of Shakespeare’s intentions, based on ideas explored in the essay

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Author: Nick Redgrove

Nick is a graduate of the University of Cambridge and King’s College London. He started his career in journalism and publishing, working as an editor on a political magazine and a number of books, before training as an English teacher. After nearly 10 years working in London schools, where he held leadership positions in English departments and within a Sixth Form, he moved on to become an examiner and education consultant. With more than a decade of experience as a tutor, Nick specialises in English, but has also taught Politics, Classical Civilisation and Religious Studies.

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Sample Gcse Essay About Lady Macbeth As A Powerful Character

Date : 03/10/2017

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Uploaded by : Rahul Uploaded on : 03/10/2017 Subject : English

This article contains a mock essay written by one of my students. When I met him, he was scoring a 3 to 4 in his mock GSCE English language and literature exams.

This resource was uploaded by: Rahul