Role Of Power In Macbeth

Macbeth’s ambition is one of the most prominent things that drive Macbeth in the play and truly becomes evident when he hears of the Witches prophecies. When the witches stop talking, he demands to know more. “Stay you imperfect speakers, tell me more” (I, III, 73-74). This portrays his excessive curiosity on the subject as well as his craving for more desirable prophecies. This ambitious nature and craving for power is also demonstrated only moments after hearing the witches, when he starts formulating a plan to kill Duncan in order to make the third prophecy come true.

The vile witches manage to cultivate the subconscious desire to be king in Macbeth. Then, when Macbeth seeks the witches, they further equivocate, orchestrating his downfall by misleading him. The author also depicts Malcolm using equivocation to deceive MacDuff into revealing his true personality, helping him develop a valuable alliance to defeat Macbeth. From these instances of deception in Macbeth, Shakespeare shows equivocation as a weapon. Equivocation is a weapon that grants significant power over a situation to its caster by enabling them to reveal the true intentions of the victim and manipulate their action with the results depending on the intent of the equivocator.

He even informs his most beloved, Lady Macbeth, who also shares his ambition. The play is about treachery and manipulation. First, the witches manipulate Macbeth which sets off the chain reaction, then Lady Macbeth manipulates Macbeth into committing regicide and afterwards Macbeth manipulates the murderers into killing Banquo and his son Fleance. Shakespeare reveals that the witches are being controlled by higher supernatural powers, "call 'em. Let me see 'em," shocking the Jacobean audience and as a result creating doubt and fear of the unknown.

The idea of witchcraft, first introduced in the Old Testament, persisted throughout the Dark Ages and remained important in Elizabethan England, wherein it was featured in the plays of Shakespeare, including Macbeth. In both periods, a witch was often described as an associate of the devil or other evil demon or spirit. If a person was considered a witch, that individual was assumed to have struck a deal with the devil and thus able to perform some sort of ‘dark’ magic, where dark refers to having an evil or selfish purpose or intent (Z 2). Despite the common elements, the beliefs and practices of witchcraft in the in the Dark Ages differed from those of Elizabethan Era. Whereas witchcraft in the Dark Ages was characterized by the presence

In our world, manipulation takes place in everyday life as a natural impulse for both men and women. In Macbeth, manipulation is centralized around the mask of ambition displaying dominance over humanity. Certainly the witch’s, Lady Macbeth, and our fallen hero Macbeth become puppets of Manipulation it self. Consequently the witch’s power to influence decision-making causes the initial deterioration of Macbeth, along with Lady Macbeth’s influential desire for the throne, and thus Macbeth use of manipulation to create a new embodiment of a mask suffused in ambition for his own cruel deeds. After the victory of Banquo and Macbeth against the king 's traitor Macdonwald the witches presence contract the vibe of manipulation seeking Macbeth as its next victim.

At the beginning of the play, Macbeth was a noble and loyal person, but by the end of the play, his “vaulting ambition” had taken over him. This caused him to become malicious and nihilistic and above all murderous, Macbeth portrays a tragic hero. Shakespeare portrays a tragic hero as someone who is noble and valiant but turns out to have a tragic flaw and Macbeth portrays this by fighting for his country and king but then murdering the king because of his hamartia, “his vaulting ambition”. Macbeth is greatly responsible for his downfall, but the witches have an impact on Macbeth’s actions. In Greek tragedies characters face a point in which they turn towards death, almost all plays have someone die and, in the end, justice prevails.

Although Macbeth’s conscious is in this state, it becomes overridden by his ambition for power. Even while knowing killing someone is sinful, he still murders his beloved king and friend, Duncan. Without Lady Macbeth pressuring him the way she did, Macbeth will not gain the ambition and immense strive for power he does

Several scenes in the play delimit the tragic undertone in the play. The emergence of the witches, the series of assassinations, the scene of war and the tragic end of the heroes and heroines emphasise the tragic nature of the play. The reader confronts several mind-boggling scenes that are breath-taking and induce tears all through the play as the indiscretion of the protagonist, Macbeth typifies. Michael Meyer (1987) reveals the characteristics of the tragic scripts and situates them within the activities of some distinguished individuals in the society who degenerate from the height of renown to the lowest ebb as a result of some flaws that are associated with

Shakespeare’s intent was to dramatize the effect the thirst for power for the sake of it has on a man. The representation of power in Macbeth is effectively developed through the impact my supernatural power has on Macbeth in comparison to Banquo. Similarly, Macbeth’s insecure personality and character are due to my significant control over his thoughts and mentality and the deep seated guilt and haunted conscience portrayed by Lady Macbeth’s soliloquy in Act 5 Scene 1 is a representation of my lasting influence over her. Therefore, through the lasting effect I have had on both Macbeth’s and Lady Macbeth’s physical actions and mental thoughts, it is evident I have helped represent the theme of power. Fair is foul, and foul is

And this process is related with Macbeth. The reason of this Macbeth acts like a hero but actually, he is not a hero but a murderer. Killing Duncan, he has become the king and has used this heroism. Hence, he put on a new appearance as snakes do. To show the general topic of evil, darkness symbolism is widely used throughout the play.