The Story of a Scottish General - Literature review Example

Macbeth’s Imagery Shakespeare’s plays are masterpieces of literature that have provided centuries of scholars with material for further study. Regardless of whether one is discussing the comedies, the tragedies or the histories, Shakespeare’s works have continued to illuminate the human condition and explore relationships. Macbeth is no exception to this general description. The play tells the story of a Scottish general, Macbeth, who has seen victory in battle just as he meets with three witches up on the moors. These witches tell him he will first become Thane of Cawdor, which is thought to be impossible as it is a rank of nobility and already occupied, and then that he will become King of Scotland, again a position already taken. Upon hearing the news of this prophesy, Macbeth’s wife convinces Macbeth to murder the present king that very evening. This, of course, leads to increasing levels of violence as Macbeth attempts to retain control of the crown and secure his position. In spite of his despicable acts, Macbeth manages to capture the sympathy of the audience, frequently being labeled a tragic hero even though the events of the play are brought about as a direct result of his own willful actions. As Caroline Spurgeon argues in her article “Shakespeare’s Imagery and What it Tells Us” (1935), this effect is brought about in very subtle ways, such as through the use of common imagery in the concept of oversized clothes on a clown, the traditional symbolism of dark and light and the idea that sin is a sickness that manifests itself in unnatural events depending upon its severity. Sometimes it takes another scholar to point out relatively obvious things such as Shakespeare’s characterization of Macbeth as an unfortunate clown or fool. “Few simple things – harmless in themselves – have such a curiously humiliating and degrading effect as the spectacle of a notably small man enveloped in a coat far too big for him” (Spurgeon, 1935). Although this effect has been deliberately used in comedy for hundreds of years, its use in Shakespeare’s tragedy almost manages to skate under the radar until someone points it out. At that point, the seemingly careless comments tossed out by the characters referring to the concept of oversized garmenting seem to assail the senses. Throughout her article, Spurgeon points out the many references in the play to the idea that Macbeth is attempting to dress himself in clothing that is too big for his own smallish character. Although he recognizes his own limitations early in the play, “The thane of Cawdor lives: why do you dress me in borrow’d robes?” (I, iii, 108), but he quickly forgets his true size and struggles to force these larger articles to shrink to his stature. This is made clear by the end of the play when Caithness describes Macbeth’s actions in this way: “He cannot buckle his distemper’d cause within the belt of rule” (V, ii, 15) while talking with the other Scottish lords at Dunsinane. By keeping his references small, seemingly within the small-talk of the play, Shakespeare is able to give very subtle character reference cues to his audience. These cues generally fly under the radar of conscious thought but nevertheless manage to convey a sense of sympathy for the bungling fool attempting to fill shoes much too big for him. By making these references constant throughout the play in a number of ways, Shakespeare continuously reminds his audience that this man is not as noble as he might seem by titles and relational rank. Another important yet subtle means in which Shakespeare builds his story is found in his careful use of the traditional symbolism of dark and light. A great deal of the action of the play occurs at night, in darkened chambers or during starless nights. It is suggested within the play itself that this is because the events that are taking place are so vile that they cannot take place in the light of day. “Another constant idea in the play arises out of the symbolism that light stands for life, virtue, goodness; and darkness for evil and death” (Spurgeon, 1935: 111-112). Macbeth himself identifies which aspect of his character he is closest to when he acknowledges the dark thoughts he has upon realizing that Malcolm is a new threat to his personal aspirations: “Stars, hide your fires; let not light see my black and deep desires” (I, iv: 50). In this statement, Macbeth realizes that his thoughts place him squarely on the side of evil so much so that not even the feeble light of the stars should have anything to do with him. As the play moves into deeper and darker elements, Shakespeare even gives his audience a warning that it is time to shade their eyes, “good things of day begin to droop and drowse” (III, ii: 52), to protect themselves from the horrors that are yet to occur. Macbeth’s evil is so great that the stars do indeed shield their eyes from the evil that is about to befall Banquo on his way across the courtyard one night with his son carrying a torch for him. As Spurgeon points out, it is when Banquo makes the comment that “there’s husbandry in heaven, their candles are all out” (II, i, 4) that the audience realized that this is the scene in which Macbeth’s old friend will lose his life. There is an even greater darkness in these events, though, as Macbeth seems unable or unwilling to do anything to prevent the next treacherous step toward hell, even inviting it as he claims he is bold enough to look at things that might “appall the devil” (III, iv, 60). Shakespeare builds on the concepts of darkness and evil as he continues to reinforce the idea that sin is a sickness that manifests itself in unnatural events based upon its severity. The idea that there was a link between sin and sickness was not originated with Shakespeare. It had been a widespread concept from the birth of Christianity as those who were poor were generally considered to be evil and to spread the seeds of illness as they traveled. The problems of the country are seen throughout the play to be addressed in terms of illness and the curing of it. Macbeth asks the physician “What rhubarb, senna or what purgative drug would scour these English hence?” (V, iii, 52-56). Whenever the problems of the country are discussed, medical terms are consistently included to emphasize this connection between evil and illness. Until the source of the evil is removed, the country cannot be healed. It is thus foreshadowing of events to come when Malcolm asks Macduff to “make us medicines of our great revenge to cure this deadly grief” (IV, iii, 214) as it is only Macduff who was not born of woman who can defeat the miserable tyrant Macbeth. “It is worth noting that all Macbeth’s images of sickness are remedial or soothing in character: balm for a sore, sleep after fever, a purge, physic for pain, a ‘sweet oblivious antidote’ (V, iii, 43); thus intensifying to the reader or audience his passionate and constant longing for well-being, rest and, above all, peace of mind” (Spurgeon, 1935: 114). Although unable to give up his mad pursuit of power and stability on the throne, it can be argued that Macbeth is actually hoping for death here after recognizing the way his inner evil has stretched out and away from his house to bring yet more suffering and affliction upon the country he loves. This again functions to draw sympathy to the character as he both realizes his own foolishness and complicity in the suffering that he’s trying to cure and yet remains unable to do anything positive about it. Throughout the play, Shakespeare builds sympathy for one of his more evil and ignoble main characters through the subtle yet very effective use of imagery and symbolism. By constantly describing the character in terms of a very small man in oversized clothing, Shakespeare continually draws attention to the idea that Macbeth is swimming in unfamiliar terrain and has no real idea of how to handle the situation he finds himself in. Aware of the evil of killing the king, a kinsman and a guest in his house, and yet unable to stand up to the harsh criticisms of his wife, Macbeth feels he has no option but to follow through with his wife’s despicable plan. However, not all blame can be pinned on Mrs. Macbeth as is shown in the various ways that Macbeth refers to himself as a creature of darkness, begging the light to hide its eyes from him so it will not be diminished by the evil in his soul. This concept of dark equating to evil and light equating to good builds upon a long-term dichotomy in Western civilization that is nearly instinctual to anyone who has grown up in these societies. By ensuring that all evil deeds take place in the dark and demonstrating how Macbeth pleads to be left to the dark to avoid staining the light again functions to inspire sympathy for the character as he tries to puzzle out just how he became the bad guy and yet remains incapable of stopping the darkness. This feeds into the concept of sin as an illness that spreads across the land in a variety of unnatural events and the vile murder of his friends at his own hands. Attempting to find a cure for the malady of the country makes Macbeth seem like a man determined to do what he can for his people, but who is unable to understand that he has become the infection. Works Cited Shakespeare. “Macbeth.” William Shakespeare: The Complete Works. Alfred Harbage (Ed.). New York: Viking Books, 1969, pp. 1107-1135. Spurgeon, Caroline F.E. Shakespeare’s Imagery and What it Tells Us. Cambridge: Cambridge University Press, 1935. Read More

This is made clear by the end of the play when Caithness describes Macbeth’s actions in this way: “He cannot buckle his distemper’d cause within the belt of rule” (V, ii, 15) while talking with the other Scottish lords at Dunsinane. By keeping his references small, seemingly within the small-talk of the play, Shakespeare is able to give very subtle character reference cues to his audience. These cues generally fly under the radar of conscious thought but nevertheless manage to convey a sense of sympathy for the bungling fool attempting to fill shoes much too big for him.

By making these references constant throughout the play in a number of ways, Shakespeare continuously reminds his audience that this man is not as noble as he might seem by titles and relational rank. Another important yet subtle means in which Shakespeare builds his story is found in his careful use of the traditional symbolism of dark and light. A great deal of the action of the play occurs at night, in darkened chambers or during starless nights. It is suggested within the play itself that this is because the events that are taking place are so vile that they cannot take place in the light of day.

“Another constant idea in the play arises out of the symbolism that light stands for life, virtue, goodness; and darkness for evil and death” (Spurgeon, 1935: 111-112). Macbeth himself identifies which aspect of his character he is closest to when he acknowledges the dark thoughts he has upon realizing that Malcolm is a new threat to his personal aspirations: “Stars, hide your fires; let not light see my black and deep desires” (I, iv: 50). In this statement, Macbeth realizes that his thoughts place him squarely on the side of evil so much so that not even the feeble light of the stars should have anything to do with him.

As the play moves into deeper and darker elements, Shakespeare even gives his audience a warning that it is time to shade their eyes, “good things of day begin to droop and drowse” (III, ii: 52), to protect themselves from the horrors that are yet to occur. Macbeth’s evil is so great that the stars do indeed shield their eyes from the evil that is about to befall Banquo on his way across the courtyard one night with his son carrying a torch for him. As Spurgeon points out, it is when Banquo makes the comment that “there’s husbandry in heaven, their candles are all out” (II, i, 4) that the audience realized that this is the scene in which Macbeth’s old friend will lose his life.

There is an even greater darkness in these events, though, as Macbeth seems unable or unwilling to do anything to prevent the next treacherous step toward hell, even inviting it as he claims he is bold enough to look at things that might “appall the devil” (III, iv, 60). Shakespeare builds on the concepts of darkness and evil as he continues to reinforce the idea that sin is a sickness that manifests itself in unnatural events based upon its severity. The idea that there was a link between sin and sickness was not originated with Shakespeare.

It had been a widespread concept from the birth of Christianity as those who were poor were generally considered to be evil and to spread the seeds of illness as they traveled. The problems of the country are seen throughout the play to be addressed in terms of illness and the curing of it. Macbeth asks the physician “What rhubarb, senna or what purgative drug would scour these English hence?” (V, iii, 52-56). Whenever the problems of the country are discussed, medical terms are consistently included to emphasize this connection between evil and illness.

Until the source of the evil is removed, the country cannot be healed. It is thus foreshadowing of events to come when Malcolm asks Macduff to “make us medicines of our great revenge to cure this deadly grief” (IV, iii, 214) as it is only Macduff who was not born of woman who can defeat the miserable tyrant Macbeth. “It is worth noting that all Macbeth’s images of sickness are remedial or soothing in character: balm for a sore, sleep after fever, a purge, physic for pain, a ‘sweet oblivious antidote’ (V, iii, 43); thus intensifying to the reader or audience his passionate and constant longing for well-being, rest and, above all, peace of mind” (Spurgeon, 1935: 114).

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