William Shakespeare's Macbeth is considered to be a powerful and darkest poetic tragedy.The poetic imagination of Macbeth is the only link among his unconscious, his preconsciousand his conscious parts of mind, and invigorated with his innately good unconscious, itexpresses this interrelationship exquisitely well. But as it visualises the truths of life more than itsees the realities, it fails to bridge meaningfully the gaps among them. However, Shakespeareconsiderably conceals Macbeth’s criminality under the veneer of his poetic paraphernalia whichhe lets spring from Macbeth’s passionate thinking and which are coloured by his penetratingimagination. Thus in a theatre image the prophecies become ‘happy prologues to the swellingact Of the imperial theme’. With darkness imagery before the murders of Duncan and Banquo,Macbeth says, ‘Stars, hide your fires’ and ‘Come seeling Night, scarf up the tender eye of pitifulDay’. The crime spot, the earth, becomes ‘this bank and shoal of time’ and crime becomes the‘ingredience of our poison’d chalice’. However, all kinds of imagery, mostly evil, that Macbethuses in the process of his criminal degradation are far out-weighed by his images in the courseof his realization, by his ‘yellow leaf’ image, by the imagery of his agonizing ‘Tomorrow andto-morrow’ speech. Thus every trait that Macbeth manifests or is said to have possessed beforehe perpetrated his crimes returns with a renewed potentiality to vindicate that he is not an utterlylost man, that he is not a downright villain, that he is not a contemptible and irredeemablecriminal. R S Crane states that ‘what most sharply distinguishes our view of Macbeth from thatof the victims and enemies is that, whereas they see him from the outside only, we see him also,throughout the main action of the play- the major action of the play- from the inside, as he seeshimself, and what we see thus is a moral spectacle the emotional quality of which, for theimpartial observer, is not too far removed from the tragic dynamics defined in the poetics.
However, in "Macbeth", women are prone to contain violence and evil intentions. The witches’ prophecies spark Macbeth’s ambitions and then encourage his violent behavior, while Lady Macbeth provides the drive and the will behind her husband’s plotting. After reading the letter her husband has sent telling of the witches' prophecies about him, Lady Macbeth believes:
Glammis thou art, and Cawdor; and shalt be
What thou art promised: yet do I fear thy nature;
It is too full o' the milk of human kindness
To catch the nearest way: thou wouldst be great;
Art not without ambition, but without
The illness should attend it—Lady Macbeth, Macbeth, Act I, Scene IV