the first half of the scene pondering and feeling ambivalent,Lady Macbeth, when she arrives, is full of energy, determination, and questions.  Her sentences are initially brief and clipped: “He [that is, the king] has almost supped. Why have you [that is, Macbeth] left the chamber?” (1.7. 29). There is already a hint of rebuke in her opening question here, as well as in the question that immediately follows (1.7.30).

Notice, in fact, how many of her opening sentences are quick questions; she is clearly annoyed with her husband, implying that he is insufficiently resolute (1.7.35-38). She even implies that if he is slack in his ambition, he must also be slack in his love for her (1.7.38-39). Her taunting questions continue when she implies that he is timorous or fearful:

. . . Art thou afeard

To be the same in thine own act and valor

As thou art in desire? (1.7.39-41)

She actually raises the possibility that he may be a “coward” and literally likens him to the proverbial “fraidy cat” (1.7.41-45). Of course, by rebuking her husband in this way, she implies that she herself possesses all the traits he apparently lacks: ambition, resolution, determination, fearlessness, and manly courage.

Indeed, she challenges Macbeth’s masculinity, implying that he is no longer a “man” (1.7.49). She reminds him of his earlier ambitions and upbraids him for being fickle (1.7.51-54). Then, in some of the most famous lines Shakespeare ever wrote, she claims that she would be willing to dash out her own baby’s brains if she had to do so to achieve announced ambitions. Ironically, these lines make her sound like the very “beast” she had earlier accused Macbeth of being (1.7.47).

When Macbeth asks what will happen if they should fail to kill the king, she responds with another very abrupt question: “We fail?” (1.7.59). It is as if she cannot even imagine that possibility. It is Lady Macbeth, in fact – not her husband – who now outlines the details of the practical plot that will allow them to succeed (1.7.61-72).

She thus shows the kind of initiative and inventiveness she finds sorely lacking in her husband, whom she regards with a kind of contempt but whose ambitions she also seeks to re-arouse. In essence, she takes command, and she speaks so forcefully that Macbeth’s response implies that he is simultaneously intimidated, astonished, and impressed (1.7.72-74).

He also now seems to accept her plan of action and adds to it – a practical plan he might never have considered if she had not first proposed it (1.7.74-77). It is he who is now asking questions, and she is the one who provides ready, confident answers (1.7.74-79). She even elaborates upon her plan (1.7.77-79), once again showing initiative and inventiveness. Urged on by his powerful, almost over-powering wife, Macbeth now agrees to commit the murder, but even his resolution seems somewhat irresolute, as when he refers to the planned murder as a “terrible feat” and when he alludes to his own “false heart” (1.7.80, 82). Even as the scene concludes, then, he seems far less powerful than his wife.

I'm not sure "encourage" is the word I would use to describe what Lady Macbeth does to her husband in Act 1.7 of Shakespeare's Macbeth.  Manipulate, humiliate, and badger are more appropriate words. 

She, in effect, says that he looks green and pale since he's lost his hope.  She says she will consider his love for her to be just like his lack of determination and courage (again, I'm interpreting and paraphrasing) when it comes to following through with the assassination plans.  In other words, his love is worthless.  He's afraid to let his actions match his desires.  He's a coward. 

When he protests that he is a man, she argues that if he is a man now (when he's behaving cowardly) then what was he before when he raised the idea of assassinating Duncan, a beast?  Powerfully, she proclaims that she has breast fed an infant, but if she broke a promise as Macbeth wants to do, she would pluck the child from her breast and dash the child's brains out.

In short, she berates Macbeth, plays the "macho card," so to speak.  She questions his manhood and his courage. 

And she manipulates him, as well.  Like actual human beings do much of the time, she remembers what she wants to remember, or if not, she rearranges the past to fit her purposes:  she refers to Macbeth's having "sworn" to assassinate Duncan.  He actually does nothing of the kind.  His strongest verbal commitment to the assassination plan is a "We will speak further" (Act 1.5.71).  She manipulates reality or the remembered details in order to win the argument and get what she wants.

In Scene 7 of Act One, Lady Macbeth finds that her husband is wavering in his plan to kill Duncan. After a soul-searching soliloquy, he tells his wife that they will "proceed no more in this business." Lady Macbeth is outraged, and responds by essentially questioning her husband's integrity, his courage, and his masculinity. She asks him if he is afraid "to be the same in thine own act and valour/As thou art in desire" and claims that she would dash "the brains out" of her own newborn child before she violated, as her husband was proposing to do, her pledge to carry out the act. She then shifts to encouragement, urging him to "screw your courage to the sticking place, and we'll not fail." Her tirade is effective, as Macbeth gains a new resolve to carry out the murder of Duncan. So in this way she is certainly controlling--she seems to know that she can best motivate her husband to commit even the most heinous of crimes by challenging his courage and his manhood. 

In Shakespeare's Macbeth, the theme of deception is quite clear in the way the Macbeth's acts with Duncan and other characters. There is also a clear sense of "appearance vs reality." Macbeth is a highly decorated general in Duncan's army, well-thought of by King and peers. No one (except Banquo—because he knows about the witches' predictions) would suspect that beneath Macbeth's sterling exterior is a man whose ambition will lead him to kill Duncan—his King, friend, cousin, and house guest (a serious breach of moral integrity at the time).

The only person that can compare to Macbeth in the act of deception—as well as demonstrating the difference between appearance vs reality—is Lady Macbeth. It is important to remember that she wants wants Duncan dead even more than Macbeth. For example, Macbeth, after being praised and rewarded by Duncan, decides that he wants to wait to kill the King in order to enjoy the "moment." So Lady Macbeth insults his manhood, his bravery, until Macbeth agrees. And he tells her that she is so hard of heart that she should only give birth to male children, for there is nothing soft within her.

In Act One, scene six, when Duncan finally arrives, the King tells Lady Macbeth how much he appreciates their love. Though it is inconvenient that he has descended upon them unannounced, it shows his high regard for them in wanting to stay at their home.

Lady Macbeth responds with a welcome that has an appropriate level of respect, and complimentary sentiments. She basically tells the King that no matter how much they would try, there is no way they could possibly repay him for all of the honor he has bestowed on their family; also, for all the honors of past and present, the Macbeth family's lives are at the King's service. Lady Macbeth says:

All our service

In every point twice done, and then done double,

Were poor and single business to contend

Against those honors deep and broad wherewith

Your Majesty loads our house. For those of old,

And the late dignities heap'd up to them,

We rest your hermits. (14-20)

When Duncan says that he and his party will be staying with the Macbeths that night, Lady Macbeth replies that their servants and all that they have is there for his comfort.

Your servants ever

Have theirs, themselves, and what is theirs, in compt,

To make their audit at your Highness’ pleasure,

Still to return your own. (25-29)

Duncan ends the scene by saying how much he loves Macbeth, and that he will continue to reward him.

In light of all that Lady Macbeth says, and as caring as she seems, she is planning the death of their King.

Since Duncan does not actually appear in Scene 7 of Act V, the assumption will be made that the question addresses Lady Macbeth's attitude toward Duncan.  Now, in the previous scene, Lady Macbeth is the gracious hostess, saying that she and Macbeth are at his service,

Your servants ever
Have theirs, themselves, and what is theirs, in compt,
To make their audit at your Highness’ pleasure,
Still to return your own. (4.6.30-34)

However, in scene 7, Lady Macbeth is brutal.  She berates Macbeth for being a coward after he tells her that he cannot go through with the murder of the man who has lately honored him,

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 pluck'd my nipple from his boneless gums,
And dash'd the brains out, had I so sworn as you
Have done to this.(1.7.60-65)

She tells Macbeth that she will get the guards drunk, and while Duncan is unguarded, they can do anything to the king: 

What cannot you and I perform upon
The unguarded Duncan? (1.7.77-78)

Lady Macbeth is so forceful that Macbeth, impressed, exclaims, "Bring forth men-children only," meaning that such violent strength should only be passed on to male children.

When trying to convince Macbeth to kill Duncan, Lady Macbeth does what all loving wives do to their husbands in similar situations.  She insults and berates him.  Lady Macbeth questions his ability to do what he said he would do.  In other words, she calls him a liar.  Then she really lays into Macbeth and calls him a coward.  

Wouldst thou have that
Which thou esteem'st the ornament of life,
And live a coward in thine own esteem,
Letting 'I dare not' wait upon 'I would,'
Like the poor cat i' the adage?

Of course that's not the worst of it though. Lady Macbeth then questions his manhood.  

When you durst do it, then you were a man;
And, to be more than what you were, you would
Be so much more the man.

Basically, Lady Macbeth is saying "I thought you were being a man when you told me you could do it.  Now you're not a man."  She is being deadly serious, but it does remind me of a scene from the movie "The Sandlot."  Ham Porter and the ball player from the other team are in a name calling argument.  The name calling is gross and funny, but turns "deadly" serious when Porter says "you play ball like a girl."  Lady Macbeth is doing a similar name calling by telling Macbeth that he must not be a man.  

Macbeth still isn't totally convinced, which is why he asks what will happen if they fail.  Her response is as follows: 

But screw your courage to the sticking-place,
And we'll not fail.

Lady Macbeth simply tells her husband to "man up" and grow some guts.  If he does that, then they cannot fail.  

In this particular scene, Lady Macbeth uses a great deal more insult that she does flattery to sway her husband.  However, after calling him a coward and saying that he's not really acting "like a man" at this point -- now that he's ambivalent about committing the murder of Duncan -- she does say, "When you durst do it, then you were a man; / And to be more than what you were, you would / Be so much more the man.  Nor time nor place / Did then adhere, and yet you would make both" (1.7.56-59).  In other words, she says that the decision Macbeth had made earlier, to kill the king, was a really manly decision, and he will be even more manly if he goes through with that decision now.  At the time, when he'd initially conceived of the plot to murder Duncan, nothing was ready -- it wasn't the time or the place -- and yet he still thought of and determined to enact this plan.  She seems to admire this and think it courageous and masculine.

Further, Lady Macbeth claims that if Macbeth can just pluck up the courage to move forward, there is no way that they will fail to succeed.  She says, "screw your courage to the sticking place / And we'll not fail" (1.7.70-71).  She makes it sound as though the whole plan hinges on him: if he can muster his courage then there is no possible way for things to go wrong.  This is relatively complimentary.