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Written by William Shakespeare in 1606, but published in 1623 in England. Queen Elizabeth's successor, King James of Scotland often showed support for Shakespeare's company, so the tragic drama is sometimes viewed as a tribute to him. He also traced his ancestry to Banquo.

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Macbeth was set in 11th century Scotland, wherein the dreary weather in the northern region is thought to be reflective of the dark and evil deeds committed in the play. The opening line, recited by the witches, "...in thunder, lightning, or in rain," is a parallel between the physical attributes of the setting and the associated negative traits of the characters.

Later on, the oddities and manipulation of the setting of the play heavily impact the storyline- the repeated references to nature being out of order, the Birnam woods seemingly moving on their own, etc.

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Norwegians, supported by Scottish rebels, invade Scotland; Scots, led by King Duncan, successfully defend their nation.

Macbeth, Thane of Glamis, stands out for his valor in battle against the invaders.

Post-battle, Macbeth and Banquo encounter three witches who predict Macbeth's rise to Thane of Cawdor and eventually king, and that Banquo's descendants will also be kings.

The prophecy begins to materialize as Macbeth is made Thane of Cawdor, following the previous thane's treason.

Macbeth contemplates murdering King Duncan to fulfill the prophecy of becoming king but hesitates.

Duncan names his son Malcolm as his heir and decides to celebrate at Macbeth's castle, prompting Macbeth's ambition.

Lady Macbeth, learning of the prophecy and Duncan's visit, plans to murder Duncan and challenges Macbeth's resolve to seize the throne.

Duncan is murdered by Macbeth, who then kills the guards to cover up his actions; Duncan's sons flee, suspecting their lives are in danger.

Macbeth ascends to the throne, but his rule is marred by suspicion and tyranny, particularly towards Banquo, due to the witches' prophecy about Banquo's lineage.

Macbeth orders the murder of Banquo and his son Fleance; Fleance escapes, but Banquo is killed.

Macbeth's guilt manifests as he sees Banquo's ghost at a feast, raising further suspicion among the thanes.

Macduff aligns with Malcolm in England to oppose Macbeth, leading to Macbeth seeking further prophecies from the witches.

The witches' new prophecies embolden Macbeth with misleading assurances of invincibility, while also confirming the threat from Banquo's lineage.

Macbeth orders the murder of Macduff's family, escalating his tyranny and prompting Macduff's vow for revenge.

Malcolm's forces disguise themselves with branches from Birnam Wood, fulfilling the witches' prophecy as they march to Dunsinane to confront Macbeth.

Lady Macbeth, plagued by guilt, dies, possibly by suicide, while Macbeth becomes increasingly desensitized and manic.

In the final battle, Macduff reveals he was born via caesarean section, allowing him to kill Macbeth, who believed himself safe from any "man born of woman."

Malcolm is crowned King of Scotland, restoring order and justice after Macbeth's tyrannical reign.

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Macbeth is initially portrayed as a brave warrior, but his interaction with the three witches reveals a mix of courage, ambition, and self-doubt.

His ambition and the witches' prophecy of becoming king create internal conflict, exemplifying the struggle between bravery, ambition, and doubt throughout the play.

Unlike Shakespeare's other strong villains like Iago or Richard III, Macbeth's weak character makes him vulnerable to the psychological effects of his crimes.

Before murdering Duncan, Macbeth hesitates due to worry, but Lady Macbeth drives him to commit the murder.

After Duncan's murder, Macbeth's actions are driven by spurts of intense activity and overwhelming guilt, illustrating his internal conflict between ambition and morality.

As his situation worsens, Macbeth reverts to his warrior instincts, showing reckless bravery as he faces his end without contemplating suicide, unlike other Shakespearean tragic heroes.

The play comes full circle with Macbeth's death in battle, ending as it began with him as a warrior on the battlefield.

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Lady Macbeth is introduced as more ruthless and ambitious than her husband, already plotting Duncan's murder upon her first appearance.

She acknowledges her need to push Macbeth into committing murder, even wishing she could perform the deed herself if she were not a woman.

The relationship between gender and power is central to her character, with her husband suggesting she has a "masculine soul" in a female body, linking masculinity with ambition and violence.

Lady Macbeth and the witches challenge the notion that only men can possess "undaunted mettle," using manipulation to achieve their ambitious goals within the constraints of their social roles.

She effectively manipulates Macbeth, questioning his manhood to compel him to murder, demonstrating her strong will.

Post-murder, Lady Macbeth's strength turns to fragility as she spirals into madness, overwhelmed by guilt, leading to sleepwalking and obsessive attempts to wash away imagined blood.

Ultimately, Lady Macbeth's inability to cope with guilt results in her apparent suicide, a sign of her complete breakdown under the weight of their crimes.

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Banquo, Macbeth's brave and noble best friend, is also his second victim.

Both Banquo and Macbeth are recognized for their valor in battle by Duncan, though Banquo is often overshadowed by Macbeth's greater ambitions.

While Banquo also harbors ambitions, he is intrigued by the Witches' prophecy that his descendants will rule Scotland.

Banquo fails to grasp that the prophecy's fulfillment will cost him his life; he is murdered by hitmen hired by Macbeth in Act III.

His son, Fleance, escapes the assassination attempt, preserving the potential fulfillment of the Witches' prophecy.

Banquo's ghost appears at a banquet hosted by Macbeth, haunting him.

The lingering significance of Banquo by the play's end is tied to his son, Fleance, who may seek revenge for his father's death and claim the Scottish throne.

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Macduff stands out due to the harm Macbeth causes him and the revenge he exacts on Macbeth.

Initially, Macduff is a loyal and brave noble on Duncan's side, immediately distrusting Macbeth's claim about Duncan's death and skipping Macbeth’s coronation.

Macbeth targets Macduff with intense anger and guilt once he realizes Macduff's disloyalty, leading him to orchestrate the murder of Macduff's wife and children.

Although Macduff's decision to leave his family is unclear and controversial, their deaths deeply motivate him to seek vengeance.

Macduff aims to restore Malcolm to the throne, driven by both a desire for rightful leadership and personal revenge for his family’s murder.

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King Duncan symbolizes stability and just leadership, embodying traits of a benevolent ruler.

His level-headed and kind nature makes him vulnerable, ultimately leading to his demise.

Duncan serves as a contrast to other characters who engage in threats and sabotage to claim his title.

In the narrative style of folk tales, Duncan represents the peaceful tradition upheld by a moral leader.

His death marks the end of peace and the beginning of a corrupt regime.

Duncan's trust in Cawdor and Macbeth sets the stage for dramatic irony and highlights the precariousness of power.

He is portrayed as a stable force, maintaining or challenging the status quo in response to the prophecies of the three witches.

Duncan’s assassination by Macbeth represents the disruption of stability and the shift in power dynamics.

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The witches, or "weird sisters," symbolize dark thoughts and temptations to evil, exploiting Macbeth’s ambition effectively like puppeteers due to their understanding of human weaknesses.

Their appearance and behavior, including beards, bizarre potions, and rhymed speech, render them comical yet they are paradoxically the play’s most dangerous characters due to their significant power and malice.

Shakespeare differentiates the witches from other characters by having them speak in rhyming couplets, such as “Double, double, toil and trouble,” which highlights their supernatural nature.

The play raises questions about the witches' role: whether they are independent agents influencing human fate or merely announcers of inevitable events, similar to mythological Fates who control human destiny.

The prophecies of the witches influence the course of the play significantly, prompting actions like Macbeth's regicide, and yet some events, like Birnam Wood coming to Dunsinane, appear as accurate predictions rather than influences.

Shakespeare leaves the true nature and extent of the witches' powers ambiguous, portraying them as embodiments of unreasoning, instinctive evil.

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"Persepolis" is a graphic memoir by Marji Satrapi, focusing on her coming-of-age story in Iran. As a protagonist and narrator, she starts as a hopeful, confident six-year-old with a deep appreciation for Persian culture and history.

Young Marji is portrayed as bright, imaginative, and deeply religious, believing she is destined to become a prophet to advance justice and alleviate suffering, embodying a profound self-confidence and a strong sense of belonging.

Marji's worldview is challenged when she learns the Shah was not divinely chosen, leading her to embrace the Iranian Revolution as a protective measure for her country, spurred on by her justice-driven and feisty nature.

Her optimism is shattered following the arrest and execution of her Uncle Anoush by the new regime, causing her to lose faith in God and question her place in an increasingly oppressive Iran.

As the Iranian regime intensifies its repression and the Iran-Iraq War prolongs, Marji confronts the harsh realities of cruelty, particularly towards women, and the cynical prolongation of war that results in massive casualties.

These oppressive conditions, including the imposition of the veil and bans on dance, music, and travel, erode Marji's natural optimism, replacing it with anger and resentment, yet she maintains her confidence and outspokenness.

Marji's unwavering spirit and candidness ultimately compel her parents to send her to Austria for safety, marking her estrangement and physical separation from an Iran that has become unrecognizable from the one she loved as a child.

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Taji, Marji's mother, is depicted as a strong, intelligent, and fiercely protective woman, playing a significant disciplinarian role in Marji's upbringing due to her perspective as a woman.

As a modern woman, Taji critically views the regime's patriarchal attitudes and policies, recognizing that they are designed to control and mistreat women under the guise of protection.

Following a personal threat of rape, Taji enters a period of depression, which shifts her perception of the regime to viewing it as an existential threat to herself and her daughter.

To protect Marji, Taji often reprimands her for her outspokenness and rebellious nature, prioritizing her education and treating any threat to it as severe.

Taji is acutely aware of the dangers Marji faces in Iran as a fourteen-year-old and ultimately realizes she cannot fully protect her as Marji asserts her independence.

After a dangerous encounter with the Guardians of the Revolution, Taji and her husband decide that Marji must be sent to Europe for her safety.

The emotional toll of sending Marji away is poignantly captured in the last panel of the book, where Taji collapses into her husband's arms, overwhelmed by heartbreak.

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Ebi is Marji’s father, characterized as hardworking, kind, and proud, with a deep love for his family and friends.

His primary motivations are ensuring the safety, stability, and dignity of his loved ones, underpinned by strong convictions about justice and freedom.

Ebi and his wife Taji actively participate in the protests against the Shah during the early Revolution days, believing in the importance of challenging the regime.

He feels a sense of jubilation when the Shah is deposed, hopeful that the educated minority in Iran can lead the country towards democracy.

As the political climate in Iran deteriorates, Ebi recognizes the growing danger but chooses to stay in Iran due to his pride and the desire to maintain his social status.

Ebi believes that his wealth and social position will protect his family, especially his daughter Marji, from the escalating threats.

Ultimately, Ebi's decision to send Marji away for her safety, despite the potential for estrangement, underscores his commitment to protect her at all costs, highlighting the ironic sacrifice of their close relationship.

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Uncle Anoush, Marji’s father’s brother, is portrayed as handsome, brave, and idealistic, symbolizing the early optimism of the Iranian Revolution.

Anoush’s commitment to Marxism and leftist causes drives him to support an independence movement in Azerbaijan, resulting in his exile to Russia and subsequent imprisonment.

Satrapi presents Anoush as a heroic figure, akin to a White Knight, whose release from prison signals a renewed hope for societal improvement.

Anoush and Marji share a bond of intelligence and fierce idealism, with Anoush becoming a source of inspiration and a close confidante for Marji as he shares his remarkable life story.

Despite clear signs of an impending harsh regime, Anoush’s idealism blinds him to the realities, maintaining a hopeful outlook until his imprisonment by the very regime he helped establish.

Anoush’s execution by the new regime deals a devastating blow to the Satrapi family's spirit, particularly impacting Marji, and symbolizes the crushing of leftist idealism in Iran, predicting a grim future.

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"Persepolis" starts after the 1979 Iranian Revolution, leading to the fall of the Shah and the rise of the Islamic Republic, introducing strict religious norms.

Marjane Satrapi attends a French school, which becomes illegal under the new regime that opposes Western influences and mandates veils for women.

Despite her parents' modern beliefs and initial support for the Revolution, they are shocked by the Islamic Republic's extreme conservatism.

Marjane learns about Iran's tumultuous history, her grandfather's suffering under the Shah, and the existence of deep social divides.

Post-Revolution, political prisoners like Siamak and Mohsen are freed but face new threats; Mohsen is killed, and Siamak flees Iran.

Marjane's uncle Anoosh, a hero to her, returns from the USSR, is imprisoned, and executed, leading Marjane to renounce God.

As many flee Iran, the Satrapis stay for economic reasons. Marjane's mother faces harassment, and the family protests the mandatory veil, facing violence.

The Iraq-Iran War incites nationalism in Marjane but she soon recognizes the horrors of war and the government's exploitation of martyrdom.

Increased policing during the war and near exposure of the Satrapis' contraband highlight the regime's control over personal freedoms.

Marjane's boldness grows amidst the conflict; she's expelled for slapping her principal and eventually leaves for Vienna, seeking freedom and safety.

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The central theme of "Macbeth" highlights the catastrophic consequences of unchecked ambition constrained by moral considerations, predominantly exemplified by the play's main characters, Macbeth and Lady Macbeth.

Macbeth, a courageous Scottish general, commits evil acts against his better judgment due to his deep desire for power, leading to subsequent guilt and paranoia, and ultimately, a frantic, boastful madness.

Lady Macbeth, depicted as one of Shakespeare’s most compelling female characters, drives her husband to murder Duncan and maintain his resolve post-murder, but she struggles to cope with the moral consequences of their actions, eventually succumbing to madness.

The play conveys that once violence is chosen as a tool for power, stopping becomes challenging, with continuous threats like Banquo, Fleance, and Macduff tempting further violent actions.

Macbeth's downfall is primarily driven by his own ambition, exacerbated by the Witches' encouragement and Lady Macbeth's similar ambitions.

After murdering Duncan, Macbeth's ambition morphs into paranoia, preventing him from enjoying his newfound power.

In contrast to Macbeth, Banquo's moral restraint keeps him from achieving his ambitions at any cost, despite hearing similar prophecies.

By the play's end, Macbeth achieves his goals but loses everything important, including his wife, with no heirs to continue his legacy.

Duncan is consistently referred to as a "king," while Macbeth is labeled a "tyrant," highlighting the contrast in their leadership styles.

A conversation between Macduff and Malcolm in Act 4, Scene 3, contrasts the ideal king's virtues—justice, temperance, and mercy—with Macbeth's thirst for power and violent nature.

Duncan exemplifies the ideal king by rewarding merit and prioritizing Scotland's interests, whereas Macbeth's reign brings chaos and injustice to Scotland.

Malcolm's eventual overthrow of Macbeth is necessary to restore order and justice under a true king.

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Two truths are told
As happy prologues to the swelling act
Of th’imperial theme (1.3)

Macbeth speaks these lines as he realizes that the witches’ prophecy (that he will be Thane of Cawdor) has come true. He immediately starts to wonder whether this means that their third prophecy (that he will become king) will also be true. The eagerness with which he turns to this idea suggests that he finds the possibility appealing, even though he also realizes he would have to commit a terrible and violent act in order to achieve the position. These lines hint at Macbeth’s ambition and foreshadow his later actions even though, at this point in the play, he seems to refuse to consider acting upon it.

Thou wouldst be great
Art not without ambition, but without
The illness should attend it (1.5)

Lady Macbeth speaks these lines as she reflects on her husband’s character. She knows that Macbeth is capable of ambitious dreams, but she thinks that he is unwilling to display the ruthless behavior necessary to achieve those dreams. These lines reflect Lady Macbeth’s own philosophy of power, in which only individuals who are willing to set their morality aside will rise to greatness. They also show that she is a sound judge of character, and understands her husband very well.

I have no spur
To prick the sides of my intent, but only
Vaulting ambition, which o’erleaps itself
And falls on th’other (1.7)

Macbeth speaks these lines as he starts to doubt his plan to murder Duncan. He uses a complicated metaphor that compares his experience to horse-riding. He describes being unable to motivate himself to take action by likening himself to a rider who cannot use his spurs to motivate his horse to go faster. The one thing he does have is ambition, which he compares to a horse and rider who overestimate their ability to leap over an obstacle, and end up falling down. The passage describes the tension between Macbeth’s unwillingness to move ahead with his plan, and his acknowledgement that his ambition is leading him down a dangerous path.

To be thus is nothing, but to be safely thus (3.1)

Macbeth speaks this line after he has become king, but continues to feel restless and insecure. He is afraid that he might lose his position and is also frustrated by the fact that he has no heir. Without the knowledge that his lineage will continue after him, Macbeth finds it meaningless to be king. This quote reveals how him giving in to his ambition and murdering Duncan has not brought him peace, but rather has just left him more paranoid and anxious. The line also reveals how Macbeth’s first violent action sets off a chain reaction of him continuing to commit violent actions in order to maintain his hold on the power he has gained.

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Gender issues are prominent in "Macbeth," with Lady Macbeth challenging Macbeth's manhood and expressing a desire to be "unsexed."

Both Macbeth and Lady Macbeth associate masculinity with aggression, leading to violence whenever they discuss manhood.

The political order in the play descends into chaos, influenced by characters who equate manhood with violence.

Female characters, notably the witches and Lady Macbeth, are portrayed as sources of violence and evil, sparking debates about the play's potentially misogynistic views.

Lady Macbeth uses manipulation instead of violence, highlighting a deviation from traditional expectations of female behavior.

The play evolves to a revised definition of manhood, showcased when Macduff responds to personal tragedy with both a desire for revenge and an expression of his feelings, suggesting a more nuanced understanding of masculinity.

Malcolm's acceptance of sorrow at the end of the play reflects a learned lesson on the emotional aspect of true masculinity, hinting at a restoration of order with his upcoming rule.

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Macbeth experiences guilty hallucinations due to his remorse over murdering Duncan and orchestrating Banquo's death.

Lady Macbeth also suffers from hallucinations and eventually descends into insanity due to her guilt over her involvement in Duncan's murder.

The torment experienced by both characters indicates that neither is entirely devoid of conscience, despite their heinous acts.

Their pervasive guilt prevents them from fully enjoying the power they sought.

Lady Macbeth's famous line, "What's done cannot be undone," highlights her ongoing struggle with guilt, leading to her eventual suicide.

Macbeth's guilt drives him to commit additional murders in an attempt to conceal his initial crimes.

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The theme of child loss is central in "Macbeth," highlighting the importance of lineage and succession.

Both Macbeth and Banquo see children as a means to continue their family lines.

Macbeth orders Banquo's murder to prevent his descendants from becoming kings, but Banquo's son Fleance escapes, keeping the prophecy alive.

The Macbeths are childless, possibly having lost a child, as suggested by Lady Macbeth's reference to nursing a baby.

Macduff uses the murder of his children as motivation to defeat Macbeth.

Siward mourns his son's death in the final battle but takes pride in his son's bravery and noble cause.

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HALLUCINATIONS

Hallucinations and visions are recurrent themes in "Macbeth," symbolizing the guilt of both Macbeth and Lady Macbeth.

Macbeth sees a blood-covered dagger pointing towards Duncan's chamber before murdering him, signifying the violent path he's chosen.

He later sees Banquo's ghost at a feast, a silent reminder of his betrayal and murder of his friend.

Lady Macbeth, initially more composed, succumbs to visions as well, experiencing sleepwalking episodes where she imagines her hands are permanently blood-stained.

The ambiguity of these visions raises questions about their reality, but both Macbeths interpret them as supernatural indicators of their deep-seated guilt.

VIOLENCE

"Macbeth" is known for its violent content, with most killings occurring offstage.

Characters vividly describe the gore, such as Macbeth and Banquo wading in blood on the battlefield in the opening scene.

The play is framed by two bloody battles: Macbeth's victory at the start and his defeat and beheading by Macduff at the end.

Key murders throughout the play include Duncan, Duncan’s chamberlains, Banquo, Lady Macduff, and Macduff’s son.

By the play's conclusion, imagery of blood is pervasive, symbolizing the widespread violence.

PROPHECY

The witches' prophecy triggers the events in "Macbeth," predicting he will become thane of Cawdor and king.

Additional prophecies include: Banquo’s heirs will be kings; Macbeth should beware of Macduff; he is safe until Birnam Wood moves to Dunsinane; and no man born of a woman can harm him.

Most of these prophecies are realized within the play, except for Banquo’s heirs becoming kings.

The prophecies often act as riddles—ambiguous and not always straightforward in meaning.

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BLOOD

Blood is a pervasive symbol in "Macbeth," first appearing during the opening battle described by a wounded captain.

As Macbeth and Lady Macbeth commit murders, blood becomes a symbol of their overwhelming guilt.

Macbeth questions if even "all great Neptune's ocean" can wash away the blood—his guilt—after killing Duncan.

Lady Macbeth initially dismisses the blood as easily washable, but later she is haunted by the sight of blood, symbolizing her deep-seated guilt.

Both characters feel irrevocably stained by their crimes, a guilt that drives them to their demise.

WEATHER

Macbeth's murder spree in Shakespeare's tragedy is marked by unnatural occurrences in nature.

Thunder and lightning coincide with the witches' appearances, symbolizing turmoil.

Terrible storms occur on the night of Duncan’s murder, reflecting disruption in the moral and political realms.

SLEEP

Sleep symbolizes ignorance and vulnerability in the play, illustrated by Duncan's murder while he sleeps and Lady Macbeth framing Duncan’s sleeping servants.

Sleep is portrayed as a necessary yet dangerous state, exposing characters to threats and leaving them defenseless.

Macbeth hears a voice claim he has "murdered sleep," indicating that by exploiting this vulnerable state, he has disrupted his own mental peace and can no longer rest peacefully.

His continuous life of turmoil reflects his broken morals, a consequence of his actions during others' sleep.

Lady Macbeth's sleepwalking signifies her struggle between order and disorder, highlighting her guilt and mental unrest as she tries to cleanse herself of the blood and guilt in her sleep-deprived madness.

Both Macbeth and Lady Macbeth's ability to rest is permanently marred by their misuse of sleep, leading to their ongoing psychological torment.

Sleep introduces the concept of a spiritual world beyond the everyday lives of the characters.

The three witches inhabit a nebulous realm between dreams and reality, where their words can be seen as prophecies or mere manipulations.

Their ambiguous existence enhances both the allure and fear of a world beyond ordinary waking life.

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Foreshadowing and Events

Major events are foreshadowed through incomplete or misleading hints, such as the witches telling Macbeth he will be king without specifying the murderous path he will take.

Raises questions of agency: To what extent is Macbeth responsible for his actions versus being fated to them?

The Rebellion of the First Thane of Cawdor

Initial instability: Opens with a rebellion by the Thane of Cawdor against Duncan, foreshadowing the kingdom's political instability.

Macbeth as successor: Macbeth’s receipt of the Thane of Cawdor title suggests he might follow the traitorous path of his predecessor.

The Witches’ Prophecies to Banquo and Macbeth

Prophecies: Macbeth to become Thane of Cawdor and king; Banquo to father kings but not be one himself.

Action and reaction: Macbeth’s actions are influenced by trying to ensure or prevent these outcomes, e.g., planning Banquo and Fleance’s murders.

Macbeth Hearing a Voice Cry “Sleep No More!”

Foreshadowing guilt: Implies Macbeth will never be at peace again, anticipating his and his wife’s future guilt and paranoia.

Symptoms of guilt: Foretells Macbeth’s insomnia and Lady Macbeth’s sleepwalking.

Macbeth’s Bloody Hands

Symbol of violence: Macbeth’s blood-stained hands after Duncan’s murder hint at further violence.

Manifestation of guilt: Lady Macbeth’s hallucination of trying to wash blood from her hands symbolizes her unending remorse.

Predictions About Threats to Macbeth

Ironic prophecies: Witches’ predictions seem favorable but are misleading, e.g., "no one borne of a woman will harm Macbeth."

Misinterpretation leading to downfall: Macbeth’s arrogance leads him to misinterpret these prophecies, fueling his continued crimes and eventual downfall.

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Your face, my thane, is as a book where men
May read strange matters.
(1.5.53–54)

Lady Macbeth uses this simile to tell her husband that his facial expressions betray his inner thoughts, likening him to a book that others can easily read.

Look like th' innocent flower,
But be the serpent under ’t.
(1.5.56–57)

In this simile, Lady Macbeth exhorts her husband to conceal his murderous intentions with innocent behavior, similar to a snake lurking beneath a harmless flower.

There the grown serpent lies. The worm that’s fled
Hath nature that in time will venom breed;
No teeth for th’ present.
(3.4.30–32)

In this metaphor, Macbeth compares Banquo and his young son Fleance to two snakes, one a full-grown threat and the other a toothless baby snake who will one day become venomous like his father.

He hath not touched you yet. I am young, but something
You may deserve of him through me, and wisdom
To offer up a weak, poor, innocent lamb
T' appease an angry god.
(4.3.14–17)

In this metaphor, Malcolm compares himself to a sacrificial lamb and Macbeth to an angry god who would be pleased with his slaughter.

He has no children. All my pretty ones?
Did you say all? O hell-kite! All?
What, all my pretty chickens and their dam
At one fell swoop?
(4.3.222–225)

After learning of his family’s massacre, Macduff uses this metaphor to compare Macbeth to a cruel kite (a type of hawk) who has swooped down and senselessly killed his entire brood of chicks and their mother all at once.

Be this the whetstone of your sword. Let grief
Convert to anger. Blunt not the heart, enrage it.
(4.3.235–236)

In this metaphor, Malcolm compares Macduff’s grief to a stone used for sharpening a sword, urging him to let grief sharpen, not dull, his desire for revenge.

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The play is imbued with a fatalistic tone, emphasizing a world thrown into chaos by Macbeth's unnatural rise to power. The natural order appears disrupted, evident from the start with the bloody aftermath of a battle and the unsettling atmosphere it creates. The witches enhance this tone, their cryptic phrases like "fair is foul and foul is fair," and "fog and filthy air" suggesting a brewing storm and elemental discord.

Post-Duncan's murder, the tone darkens as Macbeth's guilt induces paranoia. His expected triumph returns as horror; he is shaken by his inability to say "Amen," fearing for his soul, and haunted by a voice declaring, "Sleep no more!" (2.2.38). This marks a pivotal shift, as neither Macbeth nor his wife can find peace thereafter. Nature itself seems to mirror this chaos, with unnatural events like a falcon killed by an owl and Duncan’s horses turning cannibalistic.

As Macbeth confronts Banquo's ghost at the banquet, the tone shifts to one of unnatural and perpetual unrest, evidenced by Macbeth's panic that "the time has been/That, when the brains were out, the man would die/And there an end. But now they rise again" (3.4.78-80), indicating a world where the natural laws no longer hold.

By the end, the tone is deeply pessimistic. Both Macbeth and Lady Macbeth, once dynamic and sharp, decay into mere shadows of their former selves. Lady Macbeth, overwhelmed by guilt and despair, states, "What’s done cannot be undone" (5.1.60-61) before her suicide, symbolizing her lost belief in controlling her destiny. Macbeth, clinging to the witches’ prophecies, faces reality when Birnam Wood approaches Dunsinane, signaling his impending doom. His resignation is clear as he expresses weariness with life, "I ‘gin to be aweary of the sun/ And wish th’ estate o’ th’ world were now undone," and faces his final battle not with confidence but with a fatalistic curiosity about his predicted death by one "not of woman born."

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Will all great Neptune’s ocean wash this blood
Clean from my hand? No, this my hand will rather
The multitudinous seas incarnadine (2.2)

Macbeth speaks this line when he encounters his wife right after murdering Duncan. He refers to both the literal blood on his hand but also to his sense of guilt. He uses grand and dramatic language to imply that the blood could stain all the world’s oceans red. His language implies that the consequences of his action will not be easily hidden, even though his wife implies that blood can be simply washed away. He will forever be a changed man as a result of what he has done. Interestingly, later in the play, Lady Macbeth will also hallucinate that she has blood on her hands and is unable to get them clean, symbolizing her sense of guilt.

Thy bones are marrowless, thy blood is cold
Thou hast no speculation in those eyes (3.4)

Macbeth speaks this line when Banquo’s ghost appears to him at the banquet. Macbeth’s vision of the ghost reveals his guilt over ordering the murder of Banquo and his young son. His sense of guilt is so powerful that he loses his sense of reality and cannot be sure whether he is having a vision or not. He speaks these lines in order to try and reassure himself that Banquo is truly dead. In doing so, Macbeth reveals that his tormented consciousness is leading him to start losing his grip on sanity.

To bed, to bed. There’s knocking at the gate. Come,
come, come, come, give me your hand. What’s done
cannot be undone. To bed, to bed, to bed. (5.1)

Lady Macbeth speaks these lines after she has gone mad. They are the final words she utters in the play, and they reveal how guilt has crushed her strong and assertive personality. She now has to be cared for like a child, and has no plans for the future. No matter how much she repents, the violence and death cannot be undone.

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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 (1.7)

Lady Macbeth speaks these lines when she is trying to shame Macbeth for questioning their plan. She uses the image of a child to make a graphic statement about her own ambition and capacity for violence. By describing herself as a tender and loving mother who nonetheless would have killed her own child before she would abort a plan to seize power, Lady Macbeth disrupts the typical idea of what women and mothers are like. She uses this image to make her husband that he is being unmanly by doubting their scheme.

For Banquo’s issue have I filed my mind
For them the gracious Duncan have I murdered (3.1)

Macbeth speaks these lines when he is brooding about his worries that, as the witches have prophesied, Banquo’s heirs will someday gain control of the Scottish crown. Macbeth reveals that he feels guilty about the terrible things he has done, and that he is wondering if these acts were worthwhile. Even though he currently holds power, Macbeth lacks children who will hold power after him and this makes him fear that he has committed terrible deeds for no reason. These lines speak to a strong interest in stable succession, which was a key political issue in Shakespeare’s time.

What, all my pretty chickens and their dam
At one fell swoop (4.3)

Macduff speaks these tragic lines upon learning that his wife and children have been murdered. The affectionate imagery he uses to describe them shows how even though he is a strong and powerful warrior, he is also a loving husband and father. The line conveys the sense of overwhelming loss he feels when he hears that he has lost his entire family at the same time. The sense of immense grief sets the stage for his desire to avenge them by eventually killing Macbeth.

Had I as many sons as I have hairs
I would not wish them a fairer death (5.11)

Siward, a minor character, speaks these lines at the end of the play when he learns that his son has been killed in battle. Even though he is grief-stricken, he is proud that his son died a brave and honorable death. The line shows how important honor and valor are to characters in the play, and also how important it was for Macbeth to be defeated. A father can consider it worthwhile to have lost his child if it means knowing that Macbeth no longer occupies the throne.

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Except they meant to bathe in reeking wounds,
Or memorize another Golgotha,
I cannot tell—
But I am faint, my gashes cry for help. (1.2.39–42)

A wounded captain fresh from the battlefield reports to King Duncan on Macbeth and Banquo’s bloody actions on the battlefield. The captain says Macbeth and Banquo’s behaviors were so ferocious and bloodthirsty, it was as if they were trying to make the battlefield as infamous as Christ’s crucifixion at Golgotha. The bloodiness of the battle symbolizes the brutality of the war and a latent ruthlessness in Macbeth’s nature.

Will all great Neptune’s ocean wash this blood
Clean from my hand? (2.2.60–62)

After he kills Duncan, Macbeth comes to Lady Macbeth with his hands covered in blood. Horrified by his act, Macbeth laments that not even all of “Neptune’s ocean” would be enough to clean his hands. The blood on Macbeth’s hands symbolizes the guilt he feels for murdering Duncan.

Out, damned spot! Out, I say! . . . who would have thought the old man to have had so much blood in him. (5.1.25–28)

Lady Macbeth speaks these words at the end of the play, wandering around the castle in a delirium trying to wash out an invisible bloodstain, a symbol of her guilt. In the beginning of the play, Lady Macbeth appears more ruthless than her husband, but by the end of the play, she finally succumbs to the looming guilt for her crimes, and she is unable to cope with the reality of what she’s done.

I see thee still,
And on thy blade and dudgeon gouts of blood,
Which was not so before. There’s no such thing.
It is the bloody business which informs
Thus to mine eyes. (2.1.45–49)

Just before he murders Duncan, Macbeth sees a vision of a dagger floating in front of him in the castle. The tip of the dagger points toward Duncan, and the handle points toward Macbeth. For a moment, Macbeth wonders whether the dagger is real. Here, when he sees that there is blood on the tip, Macbeth concludes that the dagger is not real but a manifestation of his guilt for plotting against Duncan. The blood on the dagger symbolizes Duncan’s impending murder and the guilt that will plague Macbeth for the rest of the play.

I am in blood
Stepped in so far that, should I wade no more,
Returning were as tedious as go o’er. (3.4.142–144)

After Lady Macbeth excuses the guests from the banquet hall, she turns to Macbeth to answer for his crazed outbursts. Shaken from seeing the ghost of Banquo, Macbeth now believes he is no longer safe, even from the dead, and is committed to doing whatever he needs to do to secure his safety. With the words “I am in blood / Stepped in so far” Macbeth reveals to his wife that he has already killed so many people that it will be too difficult to go back to being good. Here, blood symbolizes both Macbeth’s guilt and his newfound resolve to preserve his own life.

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When shall we three meet again?
In thunder, lightning, or in rain? (1.1.1–2)

The three witches speak these words at the opening of the play. Throughout the play, whenever the witches appear, there is thunder, rain, or some kind of bad weather that precedes them. The stormy weather associated with the witches symbolizes how their powers stir up trouble, incite chaos, and go against the natural order.

So foul and fair a day I have not seen. (1.3.38)

When the battle ends in Act I, a storm begins. Here, Macbeth notes how ironic this is, commenting on how odd it is to have such foul weather on such a fair and fortunate day. Even though Macbeth and his soldiers have won the battle, the weather turns violent, symbolizing that there is more danger and strife to come.

This castle hath a pleasant seat. The air
Nimbly and sweetly recommends itself
Unto our gentle senses. (1.6.1–3)

As King Duncan approaches Macbeth’s castle to celebrate their victory, he notes how nice the weather is. In this scene, the pleasant weather symbolizes the goodness and peace Duncan possesses and the natural order he represents. In contrast, whenever the witches appear, the weather turns chaotic and violent.

The night has been unruly. Where we lay,
Our chimneys were blown down . . .
Some say the Earth
Was feverous and did shake. (2.3.28–35)

The morning after Duncan’s murder, Lennox, a Scottish nobleman, remarks to Macbeth how bad the weather was the night before. Lennox says that the wind blew so hard that several chimneys were blown down, and it even seemed like there might have been an earthquake. These storms and natural catastrophes symbolize the disruption Duncan’s murder will cause to the natural order of human affairs.

By th’ clock ʼtis day,
And yet dark night strangles the travelling lamp. (2.4.6–7)

A Scottish nobleman, Ross, and an old man are speaking about Duncan’s recent murder. Ross notices that even though it is day, the sun is dark, an event possibly caused by a solar eclipse or a dark cloud blocking the sun. Whatever the cause, Ross comments that the skies appear to disagree with the natural order of things. The dark daytime skies are another symbol of disaster in human affairs and a violation of nature.